Music is a reflection of life and a form of thinking, through which reflections of Arab and Turkish acquaintance have closely emerged, with both being influenced by each other.
These two ancient nations, which coexisted closely for centuries in many regions from southern Anatolia to Egypt, and from Iraq to Lebanon, have influenced each other musically.
In his book “Arabic and Turkish Music Unity in the 20th Century,” recently released by “Kalima Publications” for translation, translated by Malaak Deniz Özdemir and Ahmed Zakaria, Turkish researcher Murad Özildirim traces the history of mutual influence between Arabs and Turks who lived together for 400 years.
It is worth noting that the Turkish origin of the book appeared in 2013; it tracks the history of mutual musical influence between Arabic and Turkish cultures, even before the establishment of the Ottoman Empire.
The researcher points out that the interaction between Arabs and Turks during the last century originated from Istanbul, where it had a musical influence on many Arab countries, and Istanbul was also influenced by Arabic music, as evidenced by the similarity in musical scales and instruments between Arabic and Turkish music.
Özildirim discusses the issue of Mustafa Kemal Atatürk’s ban on classical Turkish music on the radio and the reactions of the Turks to it, connecting with the voices of Mohammed Abdel Wahab and Umm Kulthum, which led to the exchange of trips between Arab and Turkish singers. Artists such as Abdel Hamuli, Munira Al-Mahdiya, among others, visited Istanbul, and Turkish musicians travelled to Arab countries.
The author states that Eastern music, performed with the same scales by Arabs and Turks, appeals to the general musical taste of both Arabs and Turks. The performance of the same songs in Turkish and Arabic languages is evidence of this common musical taste.
He tracks the course of musical relations in the later years of the Ottoman Empire, reminding us that Arab-Turkish musical relations continued even after the establishment of the Republic of Turkey in 1923.
The translators, Ahmed Zakaria and Malaak Deniz Özdemir (social media platforms)
The author believes that the complete rupture between Arabs and Turks in the musical field did not occur. Prominent artists of the time like Zeki Muren, an icon of Turkish singing during the last century, openly expressed their admiration for Arab icons like the singer Umm Kulthum.
The author mentions some names of Turkish artists who participated in discussions about Arab-Turkish musical relations, including visual artist Jafedan Yjol Arten, Nazif Akşirli, Sebiha Nazlı Kallali, and Fekhr al-Din Arijali. Özildirim speaks about the artistic and personal friendships that brought together Arab and Turkish artists such as Birehan Altindag Sözüri and Munir Noor al-Din Suljouq.
The book translator emphasizes that “the borders drawn by Westerners in the 20th century cannot eradicate the accumulated civilization between Turks and Arabs.”
She adds in her conversation with Al Jazeera Net, “Despite the change in the nature of relations between the two nations after the collapse of the Ottoman state, music stands as an artistic branch that unites works listened to by both societies with the same emotions.”
Due to the close historical ties between Arabs and Turks, the writer considered them the real owners of the Middle East as two peoples who have lived together for over a thousand years and are culturally very similar.
The author delves into the evolution of singing art in both nations, their interaction in classical music, relations between artists, especially during the late 19th and the 20th century. He mentions that the real Turkish interaction that had a strong impact on Arab music began during the Seljuk State era (1037-1194).
He confirms that, with the Seljuks’ dominance over Baghdad in the mid-11th century, it became known that Turkish music had an influence on Arab music. The author indicates that Turkish music was also influenced by Arab music and other groups. It is known that Sultan Murad IV (1612-1640), returning from his campaign to Iran, brought musicians from Baghdad to Istanbul.
Music flourished during the reign of Sultan Mohammed IV (1642-1693 AD), and artistic friendships developed between Arab and Turkish musicians.
The translator mentions in her conversation, “Friendships were the reason for musical interaction between Arabs and Turks, evidenced in the musical relationship of the Turkish musician Munir Noor al-Din Suljouq with Mohammed Abdel Wahab, in addition to his musical relationships in the Arab world in general. Suljouq played a significant role in the musical relationships between Arabs and Turks.”
Historical Unity
At the beginning of the 20th century, the peaceful coexistence between Turks and Arabs was within a historical unity framework. According to the author, this influence strengthened cultural unity and relations between them.
The author asserts that classical Turkish music was influenced by the strong musical traditions of Iran, the Greek Orthodox Church, the ancient Syriac Church, and Arab music. He believes that expanding the empire’s borders brought a common or similar musical taste among nations under the same rule.
The author explains that for several centuries, Turkish, Greek, Armenian, Jewish, and Arab composers, musicians, and theorists remained within the framework of Ottoman music with deep roots.
The Ban Story
The author notes that shortly after the announcement of the republic, teaching Eastern music in Turkey faced many difficulties.
According to the researcher, the most prominent incident was the ban on broadcasting classical Turkish music on Turkish radio stations. In a famous musical event held in Istanbul on the night of August 9, 1928, Atatürk (1881-1938) was invited to a performance at Serai Borno by the renowned Egyptian singer Munira Al-Mahdiya (1835-1965) and her band performing Arabic poems and songs on stage, along with a Turkish band and a foreign band presenting jazz music.
The author reveals that the Egyptian singer paid her respects to Atatürk, then began performing a selection of her famous songs, including a song Atatürk loved listening to during his time in the Fifth Army in Syria between 1905 and 1906. Most intriguingly, she sang a poem praising Atatürk, receiving a loud applause from the audience. After the concert, Atatürk invited Al-Mahdiya and advised her to learn Western music, saying, “With this voice, the whole world listens to you, so let your fame be complete.”
The Western Model
At the beginning of November 1934, the issue mentioned by Atatürk in his opening speech for the fourth legislative year of the Council of the Nation resembled an official victory for enthusiasts of Western music, as Atatürk announced a shift to the Western musical style.
The author speaks of some Turkish intellectuals turning to Western music, stating, “Some intellectuals who followed the Western model wanted to humiliate classical Turkish music at every opportunity.”
He further adds in his conversation with Al Jazeera Net, “Turkish music was never meant to be listened to only in bars.” He continues, “This discourse remained a tool used by astonishing intellectuals to criticize and belittle Turkish music.”
On the second evening of November 2, 1934, the Turks woke up to shocking news that the Minister of the Interior, Şükrü Kaya, had issued a memorandum banning the broadcast of Eastern music on radio programs entirely and only airing musical compositions played in the Western style.
The author in his conversation states, “The Turkish audience did not engage with the constantly broadcast Western classical music and began following the Egyptian radio that frequently played works of Turkish composers like Musa Jaml Bek in those years.”
He adds, “The Turks turned to Arab radio stations airing music that they felt was closer to them. Even though they do not understand the language, the styles of compositions and instruments used are the same as Turkish music.”
Lifting the Ban
The author informs that the ban on broadcasting classical Turkish popular music was lifted after seven months on September 6, 1936, and after some time, Atatürk stated the following: “Unfortunately, they misunderstood my words. I meant that we must find a way for them (Westerners) to listen to the Turkish musical compositions that we enjoy. I did not say that we should get rid of Turkish tunes to adopt Western music.”
The author believes in his conversation that “Turkish-Arab musical relations will gain strength through comprehensive research and remembering the accumulation of past layers.”
