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Ekin KIZILIRMAK<\/em><\/strong><\/span><\/p>\n \n \n K\u00fcrdistan’da esteti\u011fin yeniden in\u015fas\u0131n\u0131 de\u011ferlendirmeden \u00f6nce, K\u00fcrt insan\u0131 esteti\u011fini nas\u0131l ve nerede yitirdi, fark\u0131na varmak ve anlamak gerekir diye d\u00fc\u015f\u00fcnd\u00fcm. G\u00fczellik felsefesi, ya\u015fam\u0131n hikmetinin vazge\u00e7ilmezi olan esteti\u011fi kavramak ilk \u00f6nce yap\u0131lmas\u0131 gereken, yoksa neyi yitirdi\u011fimizi nas\u0131l bilebiliriz ki… G\u00fczelin, komi\u011fin, trajedinin, y\u00fcce ve kutsal olan\u0131n ne oldu\u011funun bilincine varmak, sanatsal bir ya\u015fam\u0131n esteti\u011fini kavramakla ilgili olsa gerek. Beyhude ya\u015famak olmaz elbette, ya\u015fam\u0131n bir gizi-i\u00e7eri\u011fi vard\u0131r. Ya\u015fam\u0131n gizini-g\u00fczelli\u011fini anlamakta ya\u015fama de\u011fer vermekle orant\u0131l\u0131d\u0131r. Ya\u015fama de\u011fer ve anlam vermeyenler, do\u011fal olarak g\u00fczeli-iyiyi-do\u011fruyu da fazla bilemezler. Ya da yanl\u0131\u015f bilirler, ger\u00e7ek g\u00fczellikten, iyilikten ve do\u011fruluktan yoksun olurlar. Bilakis arif ve bilge olmak, g\u00fc\u00e7l\u00fc sezgilere sahip olmak ise ya\u015fam\u0131n estetik de\u011ferlerini anlamaya yakla\u015ft\u0131r\u0131r.<\/p>\n \u0130nsan kendi fark\u0131na varan do\u011fad\u0131r, denir. Fark\u0131na var\u0131p ger\u00e7ekle\u015fmek! \u0130nsan\u0131 t\u00fcm canl\u0131lardan ay\u0131ran, insan\u0131 k\u00e2inat\u0131n aynas\u0131 yapan bir \u00f6zgelik yarat\u0131r. Bir ta\u015ftan, bir ottan ve di\u011fer canl\u0131lardan insan\u0131 ay\u0131ran bu ba\u015fkal\u0131kt\u0131r. E\u011fer bug\u00fcn insan kendi do\u011fas\u0131na yabanc\u0131la\u015fm\u0131\u015fsa, insan kendi fark\u0131n\u0131 yitirmekle y\u00fcz y\u00fcze kalm\u0131\u015fsa; insan ya\u015fam\u0131 esteti\u011fini, hikmetini yitirme tehlikesi ya\u015fad\u0131\u011f\u0131ndand\u0131r. Bu t\u00fcr bir insan manevi ve duyusal sevin\u00e7ten mahrum insand\u0131r. \u0130nsan\u0131n g\u00f6n\u00fcl g\u00f6z\u00fcn\u00fcn kapanmas\u0131 ile fizyolojik ve ge\u00e7ici hazlara ba\u011flanarak, ya\u015famda s\u0131radanl\u0131\u011f\u0131n geli\u015fmesi, \u00e7irkinli\u011fin normalle\u015fmesi demek; \u00f6zg\u00fcrl\u00fckten yoksunluk anlam\u0131na gelir. K\u00f6leler, k\u00f6lelik g\u00fczel olabilir mi? Kafeste bir kanarya misali kafese al\u0131nm\u0131\u015f bir insan da estetik de\u011ferini yitirir. Renkleri ve zevkleri tart\u0131\u015famaz hale getirilir. Renkler ve zevkler tart\u0131\u015f\u0131lmaz slogan\u0131 kendini kand\u0131rmaktan \u00f6teye gitmez. K\u00f6le \u00f6zg\u00fcr bir se\u00e7im yapamaz ki g\u00fczeli ve \u00e7irkini ay\u0131rt etsin. \u00d6zg\u00fcr ya\u015fam\u0131n sanat\u0131ndan pay\u0131n\u0131 alamam\u0131\u015flar\u0131n se\u00e7imi, genellikle daha \u00f6nce onun i\u00e7in se\u00e7ilenlerdir. Sinema salonuna gidip, \u00e7ok g\u00fczel bir film se\u00e7tim diyen ki\u015filer benzeri, yap\u0131lan \u015fey daha \u00f6nce se\u00e7ilmi\u015f filmlerden birini se\u00e7mektir. Elbet bu se\u00e7im ger\u00e7ek bir se\u00e7im de\u011fildir. Hegel’in \u015fu s\u00f6z\u00fcn\u00fc hat\u0131rlatmak yerinde san\u0131r\u0131m; ‘b\u00fct\u00fcn ineklerin siyah oldu\u011fu bir geceydi’ der Hegel. Karanl\u0131kta renk se\u00e7iminin yap\u0131lamayaca\u011f\u0131n\u0131 \u00e7ok ho\u015f bir \u015fekilde ifade eder.<\/p>\n K\u00fcrdistan’ da g\u00fczelli\u011fin yitirili\u015fini, ortadan kald\u0131r\u0131l\u0131\u015f\u0131n\u0131 kavrad\u0131\u011f\u0131m\u0131zda ayn\u0131 g\u00fczelli\u011fi yeniden in\u015fa edebilece\u011fimizi fark edece\u011fiz. \u00d6zg\u00fcr ya\u015fam\u0131n estetik duyumsamas\u0131n\u0131 yaratt\u0131\u011f\u0131m\u0131zda, g\u00fczellikleri ortaya \u00e7\u0131kard\u0131\u011f\u0131m\u0131z, \u00e7irkinlikleri mahk\u00fbm etti\u011fimizde, k\u00f6lelik d\u00fczenini de y\u0131km\u0131\u015f olaca\u011f\u0131z. Hakikat h\u0131rkas\u0131n\u0131n s\u0131rt\u0131m\u0131zdan ne zorla \u00e7\u0131kar\u0131ld\u0131\u011f\u0131n\u0131, hakikatin nas\u0131l par\u00e7a par\u00e7a edilerek \u00fczerimizden at\u0131ld\u0131\u011f\u0131n\u0131 bilince \u00e7\u0131kard\u0131\u011f\u0131m\u0131zda, bizi so\u011fuk \u00f6l\u00fcm sessizli\u011finden uyand\u0131racak, \u00f6zg\u00fcr ya\u015fam hakikatini yeniden \u00f6rmek i\u00e7in her i\u015fe d\u00f6rt elle sar\u0131laca\u011f\u0131z. Ya\u015fam\u0131m\u0131z\u0131n yeniden kutsall\u0131k kazanmas\u0131 olduk\u00e7a \u00f6nemlidir. Marifet kap\u0131s\u0131ndan ge\u00e7meden hakikat kap\u0131s\u0131na ula\u015f\u0131lmaz. G\u00f6n\u00fcl i\u015f\u00e7isi olmadan, s\u0131rra ermeden, bir arif olarak onun edebini ta\u015f\u0131madan, hikmet sahibi olunmadan, bencillikten vazge\u00e7meden, topluma kar\u015f\u0131 y\u00fcksek bir duyarl\u0131l\u0131kla yakla\u015f\u0131p toplumun vicdan\u0131 olmadan bu kutsall\u0131\u011f\u0131n hakikatine eremeyiz.<\/p>\n \n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Bana okudun mu diye sormay\u0131n<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Kitap okumad\u0131m, insan okudum<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Kitab\u0131 insandan ayr\u0131 g\u00f6rmeyin<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0130nsan\u0131 s\u0131n\u0131rs\u0131z umman okudum<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Bah\u00e7e oldum, g\u00fcl a\u00e7\u0131ld\u0131 dal\u0131mdan<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Toprak oldum canlar ge\u00e7ti yolumdan<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dil bilenler anlamad\u0131 dilimden<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Derdimin i\u00e7inde derman okudum<\/p>\n \u015eiirler toplumsal ger\u00e7ekli\u011fi \u00e7ok g\u00fczel ifade ederler. Ger\u00e7ek ayd\u0131nlanma orada gizlidir. Hakikate olan hasret, hakikati arayarak gidermek, aray\u0131\u015f halinde olmak kadar hakikatin \u00f6zg\u00fcr bir ya\u015famda, g\u00fczelliklerde kendini g\u00f6stermesinin de sebebi ve nedenidir. Hakikat g\u00fczellikte bulunur. Toplum, k\u00fclt\u00fcr, sanat, insan ve esteti\u011fi birlik i\u00e7inde ele alarak de\u011ferlendirmek durumunday\u0131z. Toplumsal olmayan, k\u00fclt\u00fcrs\u00fcz olan insan ve sanat, estetikten nasibini almam\u0131\u015ft\u0131r.\u00a0 Estetikten eksik olan g\u00fczeli \u00e7irkini ay\u0131rt edemez. Hatta \u00e7irkini g\u00fczel de sanabilir… Baht\u0131 estetikten yana a\u00e7\u0131k g\u00fczelli\u011fe yakla\u015fan insan ise; \u00e7irkinli\u011fi inkar etmeden, ona kar\u015f\u0131 duyarl\u0131 olan insand\u0131r.<\/p>\n Toplum ve estetik kopmaz ba\u011flarla birbirine ba\u011fl\u0131d\u0131r. Toplumsal olmayan \u00e7irkindir, korkun\u00e7tur. Ba\u015fkas\u0131n\u0131n k\u00f6lesi olan, toplumsall\u0131\u011f\u0131 olmayan g\u00fczelli\u011fi g\u00f6remez. \u00c7\u00fcnk\u00fc insan\u0131n var olma bi\u00e7imi toplumsall\u0131kt\u0131r, insan\u0131n varl\u0131\u011f\u0131na ters olan insan, k\u00fclt\u00fcrs\u00fcz ve \u00e7irkindir. \u0130nsan sanat\u0131, g\u00fczeli ve \u00e7irkini ay\u0131rt etmeyi g\u00f6stererek, k\u00f6t\u00fcye ve insana yak\u0131\u015fmayana kar\u015f\u0131 insan\u0131 duyarl\u0131 k\u0131lar. Bu y\u00fczden sanat ve edebiyat her zaman hakikati g\u00f6r\u00fcn\u00fcr k\u0131lar. Bir semah misali d\u00f6ne d\u00f6ne \u00f6zg\u00fcrl\u00fc\u011f\u00fc arar.<\/p>\n G\u00fczeli ve g\u00fczelli\u011fi matematik \u00f6l\u00e7\u00fclere dayand\u0131ran, itici ve tiksinti uyand\u0131ran yakla\u015f\u0131mlara kar\u015f\u0131 ‘ben g\u00fczele g\u00fczel demem g\u00fczel toplumsal olmay\u0131nca’ demek boynumuzun borcu. ‘Benim olan’da bencillik, yaln\u0131zl\u0131k vard\u0131r. G\u00fczel olan bizim olan, toplumun oland\u0131r. ‘Benim olan’ beni korkutur, ‘bizim olansa’ en al\u0131ml\u0131, ho\u015f ve g\u00f6zde oland\u0131r. K\u00fcrt halk\u0131n\u0131n toplumsal hakikatinin s\u00f6zc\u00fcs\u00fc K\u00fcrt Halk \u00d6nderinin Newroz mesaj\u0131nda ‘B\u0130Z’ demesi ne kadar anlaml\u0131 idi. Herkes o mesajda kendi ger\u00e7e\u011fini ve hakikatini buldu. Toplumsal g\u00fczellik ‘B\u0130Z’de dile geliyordu. K\u00fcrdistan’\u0131n toplumsal hakikati, soyk\u0131r\u0131m ve asimilasyon d\u00fczeninin hakikatini zihinlerden siliyor, kendi toplumsal g\u00fczelli\u011fini nak\u015fediyordu.<\/p>\n K\u00fcrdistan’da g\u00fczellik ne zaman kaybolmu\u015ftu?\u00a0 G\u00fczelli\u011fi yeniden in\u015fa etmek neden bu kadar sanc\u0131l\u0131 idi… Bunu anlamak i\u00e7in, K\u00fcrdistan toplumsall\u0131\u011f\u0131n\u0131 g\u00f6n\u00fcll\u00fc olarak tan\u0131mak ve bilmek zorunday\u0131z. Alevi toplumundaki toplum-d\u0131\u015f\u0131 kalmay\u0131 yani d\u00fc\u015fk\u00fcnl\u00fc\u011f\u00fc, yine asimilasyonu ve k\u00fclt\u00fcrel s\u00f6m\u00fcr\u00fcy\u00fc g\u00f6n\u00fcll\u00fc kabul edenlerin olduk\u00e7a zorlanaca\u011f\u0131 bir konu… K\u00fcrdistan’da sava\u015fan iki hakikat, iki ideoloji vard\u0131r. G\u00fczellik, komik, trajik, ritimsel, uyumlu, simetri bu y\u00fczden farkl\u0131 alg\u0131lanmal\u0131d\u0131r, alg\u0131lan\u0131yor da… Kendine g\u00f6re duyumsayanlar, halka g\u00f6re duyumsayanlar olarak farkl\u0131l\u0131k vard\u0131r. B\u0130Z’im trajedi olarak g\u00f6rd\u00fc\u011f\u00fcm\u00fcz\u00fc, toplumsall\u0131ktan kopuk ya\u015fayanlar komik bulabiliyor. Asimilasyon ve soyk\u0131r\u0131mdan ge\u00e7mi\u015f bir insan, TV’lerdeki dizilerde yar\u0131m yamalak T\u00fcrk\u00e7e konu\u015fan bir K\u00fcrt tipini trajik bulurken, kendini medeni ve uygar sayan bir oryantalist bu K\u00fcrt’\u00fc komik g\u00f6rebiliyor. Olduk\u00e7a traji-komik durumlar b\u00f6yle do\u011fuyor. Estetik de\u011ferler toplumsall\u0131\u011fa ve toplumsuzlu\u011fa ba\u011fl\u0131 olarak farkl\u0131l\u0131k g\u00f6sterir. K\u00fcrdistan’da g\u00fczellik, toplumsal birlik, yetkinlik yok edilmek istendi ve isteniyor, bundan vazge\u00e7ilmemi\u015ftir. \u00c7\u00fcnk\u00fc K\u00fcrdistan’da asimilasyon ve k\u00fclt\u00fcrel soyk\u0131r\u0131mdan vazge\u00e7ilmemi\u015ftir. K\u00fcrdistan’da ya\u015fam\u0131n dilini yani esteti\u011fini yitiren bir toplum olmak olduk\u00e7a b\u00fcy\u00fck zahmetler i\u00e7inde ya\u015famakt\u0131r. Ya\u015fam kayna\u011f\u0131 buland\u0131r\u0131lmak istenmi\u015f, bunal\u0131m i\u00e7inde ya\u015fama dayat\u0131lm\u0131\u015ft\u0131r. K\u00f6lelik dayat\u0131lm\u0131\u015f, \u00f6zg\u00fcrl\u00fck hasreti i\u00e7erisinde ya\u015fayan insanlara fiziki katliamlar, bu da yetmeyince soyk\u0131r\u0131mlar uygulanm\u0131\u015ft\u0131r. T\u00fcm halklar bu vah\u015fetten etkilenmi\u015f ve toplumsal do\u011falar dejenere edilmi\u015ftir. \u0130nsanlar yozla\u015ft\u0131r\u0131lm\u0131\u015ft\u0131r. \u0130nsan\u0131n esteti\u011fini yitirmesi, bu yetmezmi\u015f gibi kendine ait olmayan sahtelikleri yeni g\u00fczellikler olarak kabul ettirilmesi insan\u0131n soysuzla\u015ft\u0131r\u0131lmas\u0131d\u0131r. Asl\u0131nda K\u00fcrdistan’da ve Anadolu’da insanl\u0131\u011fa soysuzluk, esteti\u011fi olmayan bir k\u00f6le ya\u015fams\u0131zl\u0131k d\u00fczeni dayat\u0131lm\u0131\u015ft\u0131r. K\u00f6le ya\u015fam\u0131 demiyorum \u00e7\u00fcnk\u00fc k\u00f6lelik ya\u015fams\u0131zl\u0131k, toplumsall\u0131ktan \u00e7\u0131k\u0131\u015ft\u0131r.<\/p>\n Do\u011fall\u0131k, kom\u00fcnallik, esenlik ve bar\u0131\u015f i\u00e7inde ya\u015fam darbe yemi\u015fse; bozulmu\u015fsak, asl\u0131m\u0131z nedir? Hasan H\u00fcseyin Korkmazgil’in ‘b\u00fclb\u00fcl\u00fcn bile eti i\u00e7in kesildi\u011fi bir \u00e7a\u011f’ dedi\u011fi bu sistemde, bir b\u00fclb\u00fcl misali asl\u0131m\u0131z\u0131 nerede bulaca\u011f\u0131z? Mezbahada kesilen, kafeslerde esir olan bir b\u00fclb\u00fcl ne kadar g\u00fczel ve \u00f6zg\u00fcr kalabilir? Bize dayat\u0131lan toplumsuzluksa, g\u00fczeli-\u00e7irkini, iyi-k\u00f6t\u00fcy\u00fc, do\u011fru-yanl\u0131\u015f\u0131 sorgulamak zorunday\u0131z, hem de can\u0131 g\u00f6n\u00fclden. Di\u011feri g\u00f6n\u00fcl g\u00f6z\u00fcn\u00fcn k\u00f6rle\u015fmesi ve estetik duyumsaman\u0131n kaybolu\u015fudur.<\/p>\n K\u00fcrdistan’da toplumsall\u0131k evreni-umman\u0131 \u00f6zg\u00fcrl\u00fc\u011fe y\u00fcr\u00fcd\u00fck\u00e7e; ger\u00e7ek olanla, hayalini kurdu\u011fumuz \u00f6zg\u00fcr K\u00fcrdistan birlik i\u00e7inde olacak. K\u00fcrdistan ger\u00e7ekli\u011fi ile \u00f6zledi\u011fimiz K\u00fcrdistan hayali, uyum ve denge i\u00e7inde estetik d\u00fcnyas\u0131n\u0131 yaratacak. \u0130\u015fte o zaman soyk\u0131r\u0131m K\u00fcrt’\u00fc yerin dibine girecek, A\u011fr\u0131 da\u011f\u0131ndaki g\u00f6m\u00fctl\u00fc\u011f\u00fc par\u00e7alayarak uyanan K\u00fcrt, \u00f6zg\u00fcrl\u00fck halay\u0131na duracakt\u0131r.<\/p>\n \u00d6nemli olan ruh g\u00fczelli\u011fidir, s\u00f6z\u00fcn\u00fcn toplumsal ger\u00e7ekli\u011fine hep inanm\u0131\u015f\u0131md\u0131r. \u00d6z bi\u00e7ime yans\u0131r ya, o y\u00fczden insan\u0131n ruhu, i\u00e7i g\u00fczelse d\u0131\u015fa da yans\u0131yor ve ona g\u00f6re bi\u00e7im kazan\u0131yor insan. E\u011fer g\u00fczellik matematiksel bir durum olarak ele al\u0131nmaz ve objektivizme d\u00fc\u015f\u00fclmezse, estetikte sadece somut bi\u00e7imsel de\u011fil, ayn\u0131 zamanda soyut-ruhi bir ya\u015famsall\u0131\u011f\u0131 ifade eder. Ya\u015fam\u0131n g\u00fczelli\u011fini sadece maddi g\u00fczelliklerde aramak yetersiz olur. Klasik \u00f6zne-nesne ikilemini a\u015farak olu\u015fturulacak bir \u00f6zg\u00fcr bir estetik alg\u0131s\u0131na olduk\u00e7a b\u00fcy\u00fck bir ihtiya\u00e7 var. Sadece nesne olarak duyumsanan bir g\u00fczellik, bug\u00fcn sanat\u0131n ve ya\u015fam\u0131n ba\u015f\u0131na gelen belalar\u0131n temel sebebidir. \u00c7\u0131k\u0131\u015f itibar\u0131yla, ba\u015flang\u0131c\u0131nda g\u00fczelli\u011fin ve sanat\u0131n nesnel olamayaca\u011f\u0131 kan\u0131s\u0131nday\u0131z. Hele g\u00fcn\u00fcm\u00fcz itibar\u0131yla bir meta, sat\u0131\u015f konusu olaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnmek insanl\u0131ktan uzakl\u0131kt\u0131r. M\u00fczi\u011fi, dans\u0131, \u015fiirselli\u011fi, d\u00fc\u015fselli\u011fi, g\u00fczel davran\u0131\u015flar\u0131, ba\u015fka bir d\u00fcnya olan insan d\u00fcnyas\u0131n\u0131n, b\u00fcy\u00fck d\u00fcnyaya manevi bir katk\u0131 olarak g\u00f6rmek yerindedir.<\/p>\n Bu ger\u00e7e\u011fe ters bir bi\u00e7imde K\u00fcrdistan’da \u00f6zellikle son y\u00fczy\u0131lda, sanat tam bir i\u015fgal ve istila arac\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Ahlaki ve politik de\u011ferlerden kopan sanat, devlet\u00e7i-egemen ulus anlay\u0131\u015f\u0131 i\u00e7inde ve \u00f6z\u00fcne ters bir vaziyette, hatta kendine ihanet ettirilerek kullan\u0131lm\u0131\u015ft\u0131r. Trajik olan\u0131n gerilimi, komedi olan\u0131n \u00e7at\u0131\u015fmas\u0131n\u0131, bir b\u00fct\u00fcn yaratma olay\u0131n\u0131 ger\u00e7ekleri ters-y\u00fcz etmede, y\u00fcce ve \u00f6zg\u00fcr olana ula\u015fmada de\u011fil de K\u00fcrtl\u00fc\u011f\u00fc bitirme, bir moda olan T\u00fcrkl\u00fck mefk\u00fbresine sokma temelinde icra edilmi\u015ftir. Art\u0131k K\u00fcrdistan’da ger\u00e7ek ve hakiki g\u00fczellik, \u00f6zden ve i\u00e7ten gelen g\u00fczellik, (xwe\u015fikbun) kendi olmaktan kaynaklanan ya\u015fam sanat\u0131 ve esteti\u011fi \u00f6nemsizle\u015ftirilmi\u015ftir. Bu a\u00e7\u0131dan K\u00fcrt m\u00fczi\u011fi ve esteti\u011fi emsaldir. K\u00fcrt toplumunun kimlik ve toplumsall\u0131\u011f\u0131n\u0131n temel anlat\u0131m tarz\u0131 olan m\u00fczik, \u00f6zellikle geleneksel ve orijinal K\u00fcrt k\u00fclt\u00fcr\u00fcn\u00fcn m\u00fczi\u011fi dengb\u00eajlikte oldu\u011fu gibi, var olan ehemmiyeti kaybettirilmi\u015f ve dengb\u00eajlik tarihten silinmek istenmi\u015ftir. Di\u011fer taraftan binlerce eser T\u00fcrk\u00e7ele\u015ftirilmi\u015f ve T\u00fcrk\u00e7e s\u00f6zl\u00fc, K\u00fcrtl\u00fc\u011f\u00fcnden uzakla\u015ft\u0131r\u0131lm\u0131\u015f bir ad\u0131-san\u0131 bilinmeyen anonimli\u011fe mahk\u00fbm edilmi\u015ftir. Oysa K\u00fcrt m\u00fczi\u011fi ve destanlar\u0131nda; Derwe\u015f\u00ea Evd\u00ee ve Mem \u00fb Z\u00een gibi eserlerde de g\u00f6r\u00fclen tarz\u0131yla \u00e7ok a\u00e7\u0131k olarak toplumsall\u0131\u011fa ve \u00f6zg\u00fcrl\u00fc\u011fe ba\u011fl\u0131d\u0131r. \u00d6zg\u00fcrl\u00fck ve toplumsall\u0131k yoksa a\u015fkta yoktur bu eserlerde. Bu K\u00fcrd\u00fcn ya\u015fam tarz\u0131d\u0131r ki hakikatle ba\u011flar\u0131n\u0131 koparmam\u0131\u015f sanat eserlerine her zaman konu olmu\u015ftur. Kal\u0131c\u0131d\u0131rlar, ihaneti-kahramanl\u0131\u011f\u0131 \u00e7\u00f6z\u00fcmleyerek \u00e7irkinli\u011fe kar\u015f\u0131 toplumu uyar\u0131r ve insan\u0131 g\u00fczelli\u011fe \u00e7ekerler.<\/p>\n Ger\u00e7ek sanat, geleneksel k\u00fclt\u00fcrle ba\u011f\u0131n\u0131 kuran sanat olabilir. Ba\u015fka bir deyi\u015fle bug\u00fcn K\u00fcrt sanat\u0131 ve esteti\u011fi geleneksel K\u00fcrt sanat\u0131 ve esteti\u011finden, yani K\u00fcrt kimli\u011finden ve toplumsall\u0131\u011f\u0131ndan kopar\u0131ld\u0131\u011f\u0131 i\u00e7in bu kadar kar\u015f\u0131t bir pozisyona sokulabilmi\u015ftir. A\u00e7\u0131kt\u0131r ki, pop\u00fcler sanat ve estetik, K\u00fcrt toplumunun asimilasyonunda \u00e7ok fena kullan\u0131lm\u0131\u015ft\u0131r.\u00a0 Ezen-ezilen duygulan\u0131m\u0131n\u0131n farks\u0131zla\u015ft\u0131r\u0131ld\u0131\u011f\u0131, geleneksel de\u011ferler yerine ge\u00e7ici-modac\u0131 bir ya\u015fam sunan, insan\u0131n ruhunda bir gerilime-\u00e7at\u0131\u015fmaya yol a\u00e7mayan, insan\u0131 \u00f6zg\u00fcrl\u00fck aray\u0131\u015flar\u0131ndan uzakla\u015ft\u0131ran, sahte ve sanal olana ba\u011flayan, mevcut egemen d\u00fczene uyumdan ba\u015fka bir \u015fey s\u00f6ylemeyen sanat, pop\u00fcler sanatt\u0131r. Y\u00fczy\u0131l \u00f6ncesinin modas\u0131 T\u00fcrkl\u00fckle, K\u00fcrt halk\u0131na d\u00fczene uyum ve efendilere hizmette sanata \u00e7ok k\u00f6t\u00fc roller oynat\u0131lm\u0131\u015ft\u0131r. Dejenerasyon sadece m\u00fczi\u011fe de\u011fil, toplumsal kimlik ve t\u00fcm ya\u015fam tarz\u0131na bir soyk\u0131r\u0131m olarak uygulanm\u0131\u015ft\u0131r. K\u00fcrt sanat\u0131ndaki dengb\u00eajlik ve danslar (govend) bug\u00fcn ayakta kalm\u0131\u015fsa \u00e7ok \u015fansl\u0131 oldu\u011fu i\u00e7in de\u011fil, k\u00f6k\u00fc derinlerde ve kal\u0131c\u0131 ya\u015fam de\u011ferleri oldu\u011fu i\u00e7indir. K\u00fcrt’e dair var olan her \u015feyi yok etmek isteyenler, K\u00fcrd\u00fcn m\u00fczi\u011fi ve govendini \u00f6ld\u00fcrememi\u015flerdir. Direnen ve ayakta kalan bunlar olmu\u015flard\u0131r. Her \u015fey teslim al\u0131nmak istenmi\u015f olanlar\u0131n m\u00fczi\u011fi ve govendi-halay\u0131 teslim olmam\u0131\u015ft\u0131r. Teslim olmayan K\u00fcrt esteti\u011fidir. Yitirilmek istenmi\u015f fakat direnmi\u015ftir. Bu sald\u0131r\u0131lar alt\u0131nda bir b\u00fcz\u00fclme ya\u015fad\u0131\u011f\u0131 ger\u00e7ektir fakat \u00f6ld\u00fcr\u00fclememi\u015ftir. Yirminci y\u00fczy\u0131l\u0131n son \u00e7eyre\u011finde g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi olu\u015fan \u00f6zg\u00fcrl\u00fck ortamlar\u0131nda, bir \u00e7i\u00e7ek tohumu gibi yeniden a\u00e7\u0131lm\u0131\u015f, serpilmi\u015ftir. Mizg\u00een ve Sefkan arkada\u015flar\u0131n miras\u0131 bu toplumsal ger\u00e7e\u011fin kan\u0131t\u0131d\u0131r.<\/p>\n Kapitalist modernite yeniden filizlenen bu toplumsal ve kimliksel kalk\u0131\u015f\u0131n esteti\u011fine kar\u015f\u0131 sessiz kalmam\u0131\u015ft\u0131r. Tam tersine bu ger\u00e7e\u011fi hemen g\u00f6rm\u00fc\u015f ve kendi tedbirlerini almaya \u00e7al\u0131\u015fm\u0131\u015f, \u00e7irkin planlar\u0131n\u0131 uygulamaktan \u00e7ekinmemi\u015ftir. 12 Eyl\u00fcl’le beraber K\u00fcrdistan’daki i\u015fkence ve katliamlar\u0131n boyutu t\u00fcm ya\u015fama y\u00f6neliktir. \u0130\u015fkence hanelerde her t\u00fcrl\u00fc zorbal\u0131k yan\u0131nda dayat\u0131lan egemen dil ve Avrupa modern burjuvazisinden derme \u00e7atma mar\u015flar,\u00a0 bunu ifade eder. \u00d6zg\u00fcr K\u00fcrtl\u00fc\u011f\u00fc terk ettirmek, onun dilini ve esteti\u011fini de terk ettirtmeyi gerektirir. Bu zulme kar\u015f\u0131 zindanlarda direnen k\u00fclt\u00fcr olmu\u015ftur. Tarihi bir gelenek yeniden canlanm\u0131\u015ft\u0131r. Zindanlarda direnen yolda\u015flar\u0131n g\u00fczelli\u011fi, onlar\u0131n kendi \u00f6z tarihimize ve k\u00fclt\u00fcr\u00fcm\u00fcze olan yakla\u015f\u0131mlar\u0131ndand\u0131r. Toplumsall\u0131kla kurduklar\u0131 kopmaz ba\u011fdand\u0131r. Tarihsel arkada\u015fl\u0131\u011f\u0131n g\u00fcc\u00fcndendir. Demirci Kawa destan\u0131n\u0131n bug\u00fcnk\u00fc anlat\u0131m\u0131 olduklar\u0131ndand\u0131r. Kal\u0131c\u0131d\u0131rlar ve asla unutulmazlar.<\/p>\n \u00d6zg\u00fcr ya\u015fam esteti\u011finin, tarih ve k\u00fclt\u00fcr\u00fc ya\u015famaktan ge\u00e7ti\u011fini, tarihsizli\u011fe ve k\u00fclt\u00fcrs\u00fczl\u00fc\u011fe bir tav\u0131r sahibi oldu\u011funun bilincine varmak! Estetik bilgisi, bilin\u00e7tir. Ya\u015famsald\u0131r. Tarihi ve k\u00fclt\u00fcr\u00fc do\u011fru tan\u0131yanlar, fark\u0131na varanlar; \u00e7eli\u015fkiyi daha derinden ya\u015far ve duyumsarlar. Sanat\u00e7\u0131l\u0131kta budur! Derin bir \u00e7eli\u015fki ya\u015famayan yaratamaz. \u0130stedi\u011fi kadar bilgi sahibi olsun, diyalektik bir kavray\u0131\u015fa nail olmayan bilin\u00e7sizler, estetik yitimine gark olurlar. Anlam yaratan, zihniyet bulan, esteti\u011fi yeniden in\u015fa edenler ise b\u00fcy\u00fck marifet sahibi olarak, kal\u0131c\u0131 eserler ortaya koyarlar.<\/p>\n Biz g\u00fczeli k\u00fclt\u00fcrel olarak ele almak zorunday\u0131z. K\u00fclt\u00fcrs\u00fczl\u00fck, kendi k\u00fclt\u00fcr\u00fcn\u00fc ya\u015famamak, ba\u015fkala\u015fmak, asimilasyona u\u011framak g\u00fczellikten kopmakt\u0131r. Yanl\u0131\u015f duygulan\u0131m\u0131n ba\u015flang\u0131c\u0131d\u0131r. ‘Kirli aletlerle g\u00fczel i\u015f yap\u0131lmaz’ diye bir halk deyimi vard\u0131r. Kirlenmi\u015f, bozulmu\u015f bir ruhla hangi sanat ortaya \u00e7\u0131kar\u0131labilir ki? Biz bug\u00fcn neden ger\u00e7ek bir sanat ve sanat\u00e7\u0131ya kavu\u015fam\u0131yoruz sorusunun yan\u0131t\u0131n\u0131 burada ar\u0131yorum. Bireycilik ayyuka \u00e7\u0131km\u0131\u015fsa, toplumsall\u0131ktan ka\u00e7\u0131lm\u0131\u015fsa orada g\u00fczellik yarat\u0131lamaz ki!\u00a0 Tabiat\u0131na ayk\u0131r\u0131… Halk k\u00fclt\u00fcr\u00fc ve gelenekselli\u011finden kopuklar, tarihsiz ve ba\u015fkalar\u0131n g\u00f6zleriyle ya\u015fama bakanlar, b\u0131rakal\u0131m ya\u015fama g\u00fczellik katmay\u0131, ya\u015fam\u0131n \u00e7irkini olmaktan kurtulamazlar.<\/p>\n \u0130skender’in Anadolu ve K\u00fcrdistan’a geri\u015finde Gordion d\u00fc\u011f\u00fcm\u00fcn\u00fc k\u0131l\u0131c\u0131yla keserek ‘\u00e7\u00f6zmek’ istedi\u011finden bahsederler. Daha sonra \u00f6l\u00fcm d\u00f6\u015fe\u011finde bu yapt\u0131\u011f\u0131n\u0131n pi\u015fmanl\u0131\u011f\u0131n\u0131 da dile getirdi\u011fi belirtilir. Bunu \u015funun i\u00e7in anlat\u0131yorum; Yunan bi\u00e7imcili\u011fi ve objektivizmi bug\u00fcn b\u00fct\u00fcn Avrupa esteti\u011finin temelini olu\u015fturuyor. \u0130skender’in fark etti\u011fi bizim ‘zorla g\u00fczellik olmaz’ halk deyiminde gizlidir. Zorla ancak \u00e7irkinlik dayat\u0131labilir. \u0130skender’den binlerce y\u0131l sonra bir kez daha Anadolu ve K\u00fcrdistan’a girenler asimilasyon ve soyk\u0131r\u0131m tatbikatlar\u0131yla ancak \u00e7irkinlik yaratabilirler. Tarihte oldu\u011fu gibi halk bunu kabul etmez, nitekim etmiyor da.<\/p>\n K\u00fcrdistan halk\u0131, bug\u00fcn s\u00f6m\u00fcr\u00fcye a\u00e7\u0131k hale gelmenin, \u00f6z savunma ve ya\u015fam de\u011ferlerinden kopar\u0131larak olu\u015fturuldu\u011funun fark\u0131ndad\u0131r. Ya\u015fam bir b\u00fct\u00fcnd\u00fcr ve her alanda \u00f6z-savunma ihtiya\u00e7t\u0131r. Bedeni korumak kadar ruhu da korumak gerekir. Ruhunu koruyamayanlar bedenini hi\u00e7 koruyamazlar. \u0130zzetinefsini korumak, insan\u0131n kendisine olan sayg\u0131s\u0131n\u0131, \u00f6z-haysiyetini korumak \u00f6nemlidir. Egemenlerin, kendisine sayg\u0131s\u0131n\u0131 yitirmi\u015flere \u015feref bah\u015fedece\u011fi san\u0131lmas\u0131n…<\/p>\n Hangi g\u00f6zle bakal\u0131m ve ya\u015fam\u0131n g\u00fczelli\u011fini nas\u0131l yaratal\u0131m? Nas\u0131l bakmayaca\u011f\u0131m\u0131z\u0131 ve \u00e7irkinli\u011fe batmamay\u0131 bilmek kadar, g\u00f6n\u00fcl g\u00f6z\u00fcm\u00fc yeniden in\u015fa etmekte m\u00fchimdir. \u0130n\u015fa edilmi\u015f bir ba\u015fka ba\u015fkala\u015f\u0131m modeli olan ‘moda T\u00fcrkl\u00fck’ bak\u0131\u015f\u0131yla ya\u015fama bakmaktan vazge\u00e7mek yetersiz kal\u0131r. Ger\u00e7i bu bak\u0131\u015ftan kurtulmakta ciddi bir m\u00fccadeleyle olur. \u00c7\u00fcnk\u00fc hangi bak\u0131\u015f bize aittir. Hangi bak\u0131\u015f egemenlerin in\u015fa etti\u011fi bir bak\u0131\u015ft\u0131r fazla bilincinde de\u011filiz. Davran\u0131\u015flar\u0131m\u0131z ve duygular\u0131m\u0131z y\u00fczy\u0131ld\u0131r e\u011fitimsiz… Ba\u015fkala\u015f\u0131m\u0131n duygular\u0131 bizde hakim olmu\u015ftu. F.Kafka’n\u0131n Metaformoz’undan beterdik.\u00a0 Uygarla\u015fma ve modern olma ad\u0131na, ad\u0131m\u0131z-san\u0131m\u0131z tarihten silinmek istendi. Bu y\u00fczden g\u00fczellik felsefemizi yeniden in\u015fa etmek, g\u00fczelli\u011fimize yeniden kavu\u015fmak bizim i\u00e7in elzemdir. \u00c7irkinliklerin kayna\u011f\u0131n\u0131 asimilasyon ve soyk\u0131r\u0131m olarak g\u00f6rmek, kendi \u00f6z-toplumsal de\u011ferlerimizle bulu\u015fmak ka\u00e7\u0131n\u0131lmazd\u0131r. Kendi \u00f6z-ya\u015fam esteti\u011fimize ihanetten vazge\u00e7medik\u00e7e sevilecek bir insan olamay\u0131z.<\/p>\n ‘Zorla g\u00fczellik olmaz’ bizim in\u015fa ger\u00e7ekli\u011fimiz i\u00e7inde ge\u00e7erlidir. Birilerinin bize kendini in\u015fa et,\u00a0\u00a0 g\u00fczelle\u015f demesiyle g\u00fczelle\u015femeyiz. Belki bir uyar\u0131c\u0131 olabilir fakat as\u0131l olarak g\u00fczellik kendi olmaktan (xwebun-xwe\u015fik) i\u00e7ten gelir, \u00e7\u00fcnk\u00fc \u00f6zseldir. Bana ho\u015fluk veren, y\u00fcre\u011fimi ferahland\u0131ran toplumsal oland\u0131r. \u0130n\u015fa edilen, ruhumuza bi\u00e7im veren nedir? G\u00fczellik sabit bir \u015fey de\u011fildir ki, o da yarat\u0131l\u0131r ve in\u015fa edilir. G\u00fczellik ba\u015fkas\u0131ndan istenmez, sen yarat\u0131rs\u0131n. Feqiye Teyran’a ‘git M\u00eerlere s\u00f6yle, onlara g\u00fczelleme yap’ denildi\u011finde O, ‘esirlerin esirine’ gitmem demi\u015ftir. Ba\u015fkas\u0131n\u0131n esiri olanlar, toplum i\u00e7in, toplumsal a\u015fk i\u00e7in direnenlere bir \u015fey veremez. A\u015fk\u0131n direni\u015fi g\u00fczellik i\u00e7indir. \u00d6zg\u00fcr bir ya\u015fam i\u00e7indir, bunun d\u0131\u015f\u0131nda bir a\u015fk sahte bir a\u015fk olmaktan \u00f6teye gitmez. \u0130nsan a\u015fk\u0131n\u0131 istemez, sava\u015farak-direnerek yarat\u0131r. Toplumsal a\u015fkta ayn\u0131 y\u00f6ntemle yarat\u0131l\u0131r. Gelenekte ve tarihte oldu\u011fu gibi bug\u00fcnde K\u00fcrt Esteti\u011fi’ni yaratan egemenlere ba\u011flanmayan \u00f6zg\u00fcrl\u00fck m\u00fccadelesidir.<\/p>\n \n","protected":false},"excerpt":{"rendered":" Ekin KIZILIRMAK K\u00fcrdistan’da esteti\u011fin yeniden in\u015fas\u0131n\u0131 de\u011ferlendirmeden \u00f6nce, K\u00fcrt insan\u0131 esteti\u011fini nas\u0131l ve nerede yitirdi, fark\u0131na varmak ve anlamak gerekir diye d\u00fc\u015f\u00fcnd\u00fcm. G\u00fczellik felsefesi, ya\u015fam\u0131n hikmetinin vazge\u00e7ilmezi olan esteti\u011fi kavramak ilk \u00f6nce yap\u0131lmas\u0131 gereken, yoksa neyi yitirdi\u011fimizi nas\u0131l bilebiliriz ki… G\u00fczelin, komi\u011fin, trajedinin, y\u00fcce ve kutsal olan\u0131n ne oldu\u011funun bilincine varmak, sanatsal bir ya\u015fam\u0131n esteti\u011fini […]<\/p>\n","protected":false},"author":1,"featured_media":762,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21],"tags":[],"class_list":["post-761","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur-ve-sanat"],"_links":{"self":[{"href":"https:\/\/tirki.komunar.net\/index.php?rest_route=\/wp\/v2\/posts\/761","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tirki.komunar.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tirki.komunar.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tirki.komunar.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tirki.komunar.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=761"}],"version-history":[{"count":1,"href":"https:\/\/tirki.komunar.net\/index.php?rest_route=\/wp\/v2\/posts\/761\/revisions"}],"predecessor-version":[{"id":763,"href":"https:\/\/tirki.komunar.net\/index.php?rest_route=\/wp\/v2\/posts\/761\/revisions\/763"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tirki.komunar.net\/index.php?rest_route=\/wp\/v2\/media\/762"}],"wp:attachment":[{"href":"https:\/\/tirki.komunar.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=761"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tirki.komunar.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=761"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tirki.komunar.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=761"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}