{"id":2213,"date":"2024-06-05T05:00:38","date_gmt":"2024-06-05T09:00:38","guid":{"rendered":"https:\/\/radyomunzur.com\/?p=2213"},"modified":"2024-12-20T06:39:59","modified_gmt":"2024-12-20T11:39:59","slug":"ozel-haber-mehmet-atli-ile-30-yil-soylesisi-muzigin-ve-kulturun-izinde","status":"publish","type":"post","link":"https:\/\/radyomunzur.com\/?p=2213","title":{"rendered":"\u00d6ZEL HABER – Mehmet Atl\u0131 ile 30. Y\u0131l S\u00f6yle\u015fisi: M\u00fczi\u011fin ve K\u00fclt\u00fcr\u00fcn \u0130zinde"},"content":{"rendered":"

\u00a0 \u00a0 <\/strong>Dersim, 30 y\u0131ll\u0131k m\u00fczik kariyeri boyunca K\u00fcrt m\u00fczi\u011finin \u00f6nemli isimlerinden biri haline gelen Mehmet Atl\u0131\u2019y\u0131 a\u011f\u0131rlad\u0131. \u0130stanbul\u2019da ba\u015flayan m\u00fczikal yolculu\u011funu, Diyarbak\u0131r\u2019daki gen\u00e7lik y\u0131llar\u0131ndan g\u00fcn\u00fcm\u00fcze kadar uzanan deneyimlerini payla\u015fan Atl\u0131, sanat\u0131n\u0131 nas\u0131l \u015fekillendirdi\u011fini ve k\u00fclt\u00fcrel \u00e7e\u015fitlilikten nas\u0131l beslendi\u011fini anlatt\u0131. \u0130stanbul\u2019un kozmopolit yap\u0131s\u0131n\u0131n ve K\u00fcrt\u00e7enin farkl\u0131 leh\u00e7elerini tan\u0131man\u0131n m\u00fczi\u011fine katt\u0131\u011f\u0131 derinlikleri vurgulayan sanat\u00e7\u0131, modernle\u015fen ve kentlile\u015fen K\u00fcrt\u00e7enin \u00f6nemine dikkat \u00e7ekti. Atl\u0131\u2019n\u0131n bu samimi s\u00f6yle\u015fisi, m\u00fczi\u011fin bireysel ve toplumsal d\u00f6n\u00fc\u015f\u00fcmdeki rol\u00fcn\u00fc bir kez daha g\u00f6zler \u00f6n\u00fcne serdi.<\/p>\n

M\u00fczikal Yolculu\u011fun Ba\u015flang\u0131c\u0131<\/strong><\/p>\n

Atl\u0131, saz \u00e7almaya Diyarbak\u0131r\u2019da ortaokul ve lise y\u0131llar\u0131nda ba\u015flad\u0131. Ancak o d\u00f6nemde dar bir \u00e7er\u00e7evede oldu\u011funu belirtti. \u0130stanbul\u2019un k\u00fclt\u00fcrel \u00e7e\u015fitlili\u011finin m\u00fczikal perspektifini geni\u015fletti\u011fini aktaran Atl\u0131, \u015fehrin farkl\u0131 co\u011frafyalardan gelen insanlar\u0131 tan\u0131ma f\u0131rsat\u0131 sunmas\u0131, m\u00fczikal anlay\u0131\u015f\u0131n\u0131 derinle\u015ftirdi\u011fini vurgulad\u0131.<\/p>\n

“Diyarbak\u0131r o zamanlar nispeten k\u00fc\u00e7\u00fck bir \u015fehirdi. Bildi\u011fim, yak\u0131n \u00e7evrem, okudu\u011fumuz tek tip kitaplar vard\u0131. Co\u011frafyam\u0131za dair duydu\u011fumuz \u015feyler vard\u0131 ama \u0130stanbul gibi b\u00fcy\u00fck bir \u015fehre gidince \u00e7ok daha geni\u015f bir d\u00fcnya ile tan\u0131\u015ft\u0131m,” diyor Atl\u0131. \u0130stanbul\u2019a gidi\u015fiyle birlikte bir\u00e7ok farkl\u0131 K\u00fcrt leh\u00e7esini ve k\u00fclt\u00fcrel zenginli\u011fi tan\u0131ma f\u0131rsat\u0131 buldu\u011funu ifade etti. “Sadece Diyarbak\u0131r\u2019da konu\u015fulan K\u00fcrt\u00e7eyi de\u011fil, \u00f6rne\u011fin A\u011fr\u0131’da, Van’da, Cizre’de ve \u015e\u0131rnak’ta konu\u015fulan K\u00fcrt\u00e7eyi \u0130stanbul\u2019da tan\u0131d\u0131m. Bir Zazaca biliyordum ama Dersim’de konu\u015fulan Zazaca’y\u0131 \u0130stanbul’da \u00f6\u011frendim.”<\/p>\n

1990\u2019l\u0131 Y\u0131llar\u0131n Zorluklar\u0131<\/strong><\/p>\n

\u0130stanbul\u2019da kar\u015f\u0131la\u015ft\u0131\u011f\u0131 k\u00fclt\u00fcrel \u00e7e\u015fitlilik, Atl\u0131\u2019n\u0131n m\u00fczi\u011fini \u015fekillendirdi. Farkl\u0131 K\u00fcrt leh\u00e7elerini ve Zazaca\u2019n\u0131n \u00e7e\u015fitlili\u011fini \u00f6\u011frenme s\u00fcrecinde, folklorik ezgiler ve K\u00fcrt \u015fiirleri \u00fczerinde \u00e7al\u0131\u015fmalara ba\u015flad\u0131. Atl\u0131, m\u00fczikal kariyerinde \u00f6nemli d\u00f6n\u00fcm noktalar\u0131n\u0131 payla\u015farak, 1990\u2019l\u0131 y\u0131llar\u0131n ba\u015flar\u0131nda K\u00fcrt\u00e7e \u00fczerindeki bask\u0131lar\u0131n yo\u011fun oldu\u011fu d\u00f6nemde \u00fcniversite \u00f6\u011frencisi olarak aktif bir \u015fekilde K\u00fcrt m\u00fczi\u011fi \u00e7al\u0131\u015fmalar\u0131 i\u00e7inde yer ald\u0131\u011f\u0131n\u0131 anlatt\u0131. “O d\u00f6nemde K\u00fcrt\u00e7e’yle ilgilenmek tehlikeli bir i\u015fti. Eski kasetleri, plaklar\u0131 dinledik ve bir repertuvar \u00e7al\u0131\u015fmas\u0131 yapt\u0131k. Diyarbak\u0131r’da olsayd\u0131m belki bu kadar a\u00e7\u0131lmayacakt\u0131 ufkum ama \u0130stanbul\u2019da kendi \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z k\u00fclt\u00fcr merkezinde K\u00fcrt\u00e7e m\u00fczikte derinlemesine bir ara\u015ft\u0131rmaya giri\u015ftik,” diye ekledi.<\/p>\n

M\u00fczikal \u00c7al\u0131\u015fmalar ve Repertuvar<\/strong><\/p>\n

Atl\u0131, m\u00fczikal \u00e7al\u0131\u015fmalar\u0131n\u0131n \u00fc\u00e7 ana hat \u00fczerinde ilerledi\u011fini belirtti: folklor \u00fczerine \u00e7al\u0131\u015fmalar, K\u00fcrt\u00e7e \u015fiirleri bestelemek ve kendi \u015fark\u0131 s\u00f6zlerini yazmak. “Folklorun zenginli\u011fi kar\u015f\u0131s\u0131nda hayranl\u0131\u011fa kap\u0131l\u0131rs\u0131n\u0131z. Ne yapaca\u011f\u0131n\u0131z\u0131 bilemezsiniz. Sanki her \u015fey s\u00f6ylenmi\u015f gibi gelir size,” diyor Atl\u0131. Bu zenginli\u011fi yorumlayarak modern bir hale getirmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 ve kendi ger\u00e7ekli\u011fini anlatman\u0131n \u00f6nemini vurgulad\u0131. “Ben ne anlataca\u011f\u0131m? Ben de anlatmaya de\u011fer ne var? Kendi ger\u00e7ekli\u011fimi anlataca\u011f\u0131m. Mehmet olarak, birey olma hallerimi anlataca\u011f\u0131m.”<\/p>\n

K\u00fcrt M\u00fczi\u011finin Modernle\u015fmesi<\/strong><\/p>\n

Mehmet Atl\u0131, K\u00fcrt\u00e7e\u2019nin modernle\u015fen ve kentlile\u015fen bir dil haline geldi\u011fini vurgulad\u0131. 30 y\u0131l \u00f6nceki medya ortam\u0131 ile g\u00fcn\u00fcm\u00fczdeki medya ortam\u0131 aras\u0131ndaki farklar\u0131 dile getirerek, modern K\u00fcrt kamuoyunun olu\u015fumuna dikkat \u00e7ekti. Atl\u0131, m\u00fczi\u011fin bu s\u00fcre\u00e7teki rol\u00fcne de\u011finerek, K\u00fcrt kamuoyunun olu\u015fmas\u0131na ve K\u00fcrt m\u00fczi\u011finin geli\u015fimine katk\u0131da bulundu\u011funu \u015fu s\u00f6zlerle anlatt\u0131:<\/p>\n

\u201cK\u00fcrt\u00e7e modernle\u015fiyor, kentlile\u015fiyor. \u00c7\u00fcnk\u00fc K\u00fcrtler kentlile\u015fiyor. K\u0131rsal ortamlar\u0131ndan, k\u00f6ylerinden kopuyorlar. Kentlere ak\u0131yorlar \u00f6zellikle b\u00fcy\u00fck kentlere metropol kentlere, bat\u0131n\u0131n metropollerine, Avrupa’ya, Amerika’ya kadar a\u00e7\u0131lan bir K\u00fcrt ve K\u00fcrt\u00e7e ger\u00e7e\u011fi var. Sadece K\u00fcrtler de\u011fi\u015fmiyor. Sadece K\u00fcrtler yer de\u011fi\u015ftirmiyor. Ayn\u0131 zamanda K\u00fcrt\u00e7e yer de\u011fi\u015ftiriyor. K\u00fcrt\u00e7e kentlile\u015fiyor. \u00d6rne\u011fin otuz y\u0131l \u00f6nce benim m\u00fczi\u011fe ba\u015flad\u0131\u011f\u0131mdan bug\u00fcn daha ba\u015fka bir medya ortam\u0131 var. K\u00fcrt medyas\u0131 var. Zengin geni\u015f bir K\u00fcrt medya ortam\u0131 var. Otuz y\u0131l \u00f6ncesine nazaran. Dolay\u0131s\u0131yla bir medya dili geli\u015fti. Bir kamusal dil geli\u015fti. Bir haber dili geli\u015fti. Bu bizim \u015fark\u0131lar\u0131m\u0131z\u0131 da etkiledi. Modern bir K\u00fcrt kamuoyu olu\u015ftu. T\u00fcrkiye’deki pek \u00e7ok insan\u0131n anlamad\u0131\u011f\u0131 sorunlardan biri budur bence. K\u00fcrtlerin kamuoyu vard\u0131r. Ba\u015fkas\u0131n\u0131n kolay kolay anlayamayaca\u011f\u0131, tam olarak n\u00fcfuz edemeyece\u011fi, K\u00fcrtlerin sevindi\u011fi ve K\u00fcrtlerin \u00fcz\u00fcld\u00fc\u011f\u00fc ger\u00e7ekler vard\u0131r. Bu i\u015fte K\u00fcrt kamuoyunun olu\u015fumu demektir. Bu s\u00fcre\u00e7te bizim m\u00fczi\u011fimizle bir rol oynad\u0131. Benim ku\u015fa\u011f\u0131mdan insanlar\u0131n yapt\u0131\u011f\u0131 m\u00fczik, bir K\u00fcrt kamuoyunun, bir K\u00fcrt medya dili, m\u00fczik dilinin ortak hissiyat\u0131n olu\u015fmas\u0131na bir katk\u0131s\u0131 oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum.\u201d<\/p>\n

Toplumsal ve Sanatsal Sorumluluk<\/strong><\/p>\n

Atl\u0131, sanat\u0131n toplumsal bir boyutu oldu\u011funu ve m\u00fczi\u011fin bireysel ifadeden \u00f6te toplumsal bir anlam ta\u015f\u0131d\u0131\u011f\u0131n\u0131 belirtti. “Sanat toplumsald\u0131r. Tek tek bireyler yapsa bile toplumla interaktif bir ili\u015fki i\u00e7inde anlaml\u0131d\u0131r,” diyen sanat\u00e7\u0131, m\u00fczi\u011fin ve di\u011fer sanat dallar\u0131n\u0131n insanlar\u0131 d\u00fc\u015f\u00fcnd\u00fcrmesi gerekti\u011fine inand\u0131\u011f\u0131n\u0131 s\u00f6yledi. “M\u00fczik, resim, tiyatro, sinema bu e\u015fitsizlikleri if\u015fa etme, bunlar\u0131n \u00fczerine gitme, bunlar hakk\u0131nda sorma i\u015flevi g\u00f6r\u00fcyorsa bir anlam\u0131 vard\u0131r. Yoksa biraz kuru kalabal\u0131k olur yapt\u0131\u011f\u0131m\u0131z \u015fey. Bunu bir \u015feyin hizmetine ko\u015fmaktan bahsetmiyorum. Ama \u00e7\u0131kard\u0131\u011f\u0131m\u0131z seslerin, yazd\u0131\u011f\u0131m\u0131z dizelerin, \u00e7ekti\u011fimiz g\u00f6r\u00fcnt\u00fclerin yapt\u0131\u011f\u0131m\u0131z resimlerin ya da heykellerin insanlar\u0131 d\u00fc\u015f\u00fcnd\u00fcrmesi, insan olma \u00fczerine yeni sorular sormas\u0131 \u00f6nemlidir diye d\u00fc\u015f\u00fcn\u00fcyorum. Gazetecili\u011fi de \u00f6yle g\u00f6r\u00fcyorum. Sanat\u00e7\u0131l\u0131\u011f\u0131 da \u00f6yle g\u00f6r\u00fcyorum a\u00e7\u0131k\u00e7as\u0131”<\/p>\n

Son olarak, Mehmet Atl\u0131 m\u00fczi\u011fin evrensel bir dil oldu\u011funu ve her bireyin kendi biricikli\u011fini ifade etmesi gerekti\u011fini belirtti. “Her bir insan\u0131n biricikli\u011fini, Mehmet’in, sizin ya da kameran\u0131n arkas\u0131nda duran arkada\u015f\u0131n biricikli\u011fi hi\u00e7bir \u015feye indirgenemez. Toplum b\u00f6yle olu\u015fuyor. Her birimiz bir k\u00fclt\u00fcr\u00fc ta\u015f\u0131makla asl\u0131nda bir d\u00fcnyay\u0131 ta\u015f\u0131yoruz,” diyen Atl\u0131, birey \u00fczerine d\u00fc\u015f\u00fcnmenin ve onu \u00f6nemsemenin gereklili\u011fini vurgulad\u0131.<\/p>\n

    \n
  1. sanat y\u0131l\u0131nda m\u00fczi\u011fe ve k\u00fclt\u00fcre dair bak\u0131\u015f a\u00e7\u0131s\u0131na ili\u015fkin ger\u00e7ekle\u015ftirdi\u011fimiz s\u00f6yle\u015fide Mehmet Atl\u0131, sanat\u00e7\u0131n\u0131n toplumsal d\u00f6n\u00fc\u015f\u00fcmdeki yerini ve katk\u0131lar\u0131n\u0131 bir kez daha ortaya koydu.<\/li>\n<\/ol>\n

    Sevim KAHRAMAN<\/strong><\/p>\n

     <\/p>\n

    \"\" \"\" \"\" \"\"<\/p>\n

     <\/p>\n

     <\/p>\n

    \"\"<\/p>\n

     <\/p>\n

     <\/p>\n","protected":false},"excerpt":{"rendered":"

    \u00a0 \u00a0 Dersim, 30 y\u0131ll\u0131k m\u00fczik kariyeri boyunca K\u00fcrt m\u00fczi\u011finin \u00f6nemli isimlerinden biri haline gelen Mehmet Atl\u0131\u2019y\u0131 a\u011f\u0131rlad\u0131. \u0130stanbul\u2019da ba\u015flayan m\u00fczikal yolculu\u011funu, Diyarbak\u0131r\u2019daki gen\u00e7lik y\u0131llar\u0131ndan g\u00fcn\u00fcm\u00fcze kadar uzanan deneyimlerini payla\u015fan Atl\u0131, sanat\u0131n\u0131 nas\u0131l \u015fekillendirdi\u011fini ve k\u00fclt\u00fcrel \u00e7e\u015fitlilikten nas\u0131l beslendi\u011fini anlatt\u0131. \u0130stanbul\u2019un kozmopolit yap\u0131s\u0131n\u0131n ve K\u00fcrt\u00e7enin farkl\u0131 leh\u00e7elerini tan\u0131man\u0131n m\u00fczi\u011fine katt\u0131\u011f\u0131 derinlikleri vurgulayan sanat\u00e7\u0131, modernle\u015fen ve kentlile\u015fen K\u00fcrt\u00e7enin \u00f6nemine dikkat \u00e7ekti. Atl\u0131\u2019n\u0131n bu samimi s\u00f6yle\u015fisi, m\u00fczi\u011fin bireysel ve toplumsal d\u00f6n\u00fc\u015f\u00fcmdeki rol\u00fcn\u00fc bir kez daha g\u00f6zler \u00f6n\u00fcne serdi. M\u00fczikal Yolculu\u011fun Ba\u015flang\u0131c\u0131 Atl\u0131, saz \u00e7almaya Diyarbak\u0131r\u2019da ortaokul ve lise y\u0131llar\u0131nda ba\u015flad\u0131. Ancak o d\u00f6nemde dar bir \u00e7er\u00e7evede oldu\u011funu belirtti. \u0130stanbul\u2019un k\u00fclt\u00fcrel \u00e7e\u015fitlili\u011finin m\u00fczikal perspektifini geni\u015fletti\u011fini aktaran Atl\u0131, \u015fehrin farkl\u0131 co\u011frafyalardan gelen insanlar\u0131 tan\u0131ma f\u0131rsat\u0131 sunmas\u0131, m\u00fczikal anlay\u0131\u015f\u0131n\u0131 derinle\u015ftirdi\u011fini vurgulad\u0131. “Diyarbak\u0131r o zamanlar nispeten k\u00fc\u00e7\u00fck bir \u015fehirdi. Bildi\u011fim, yak\u0131n \u00e7evrem, okudu\u011fumuz tek tip kitaplar vard\u0131. Co\u011frafyam\u0131za dair duydu\u011fumuz \u015feyler vard\u0131 ama \u0130stanbul gibi b\u00fcy\u00fck bir \u015fehre gidince \u00e7ok daha geni\u015f bir d\u00fcnya ile tan\u0131\u015ft\u0131m,” diyor Atl\u0131. \u0130stanbul\u2019a gidi\u015fiyle birlikte bir\u00e7ok farkl\u0131 K\u00fcrt leh\u00e7esini ve k\u00fclt\u00fcrel zenginli\u011fi tan\u0131ma f\u0131rsat\u0131 buldu\u011funu ifade etti. “Sadece Diyarbak\u0131r\u2019da konu\u015fulan K\u00fcrt\u00e7eyi de\u011fil, \u00f6rne\u011fin A\u011fr\u0131’da, Van’da, Cizre’de ve \u015e\u0131rnak’ta konu\u015fulan K\u00fcrt\u00e7eyi \u0130stanbul\u2019da tan\u0131d\u0131m. Bir Zazaca biliyordum ama Dersim’de konu\u015fulan Zazaca’y\u0131 \u0130stanbul’da \u00f6\u011frendim.” 1990\u2019l\u0131 Y\u0131llar\u0131n Zorluklar\u0131 \u0130stanbul\u2019da kar\u015f\u0131la\u015ft\u0131\u011f\u0131 k\u00fclt\u00fcrel \u00e7e\u015fitlilik, Atl\u0131\u2019n\u0131n m\u00fczi\u011fini \u015fekillendirdi. Farkl\u0131 K\u00fcrt leh\u00e7elerini ve Zazaca\u2019n\u0131n \u00e7e\u015fitlili\u011fini \u00f6\u011frenme s\u00fcrecinde, folklorik ezgiler ve K\u00fcrt \u015fiirleri \u00fczerinde \u00e7al\u0131\u015fmalara ba\u015flad\u0131. Atl\u0131, m\u00fczikal kariyerinde \u00f6nemli d\u00f6n\u00fcm noktalar\u0131n\u0131 payla\u015farak, 1990\u2019l\u0131 y\u0131llar\u0131n ba\u015flar\u0131nda K\u00fcrt\u00e7e \u00fczerindeki bask\u0131lar\u0131n yo\u011fun oldu\u011fu d\u00f6nemde \u00fcniversite \u00f6\u011frencisi olarak aktif bir \u015fekilde K\u00fcrt m\u00fczi\u011fi \u00e7al\u0131\u015fmalar\u0131 i\u00e7inde yer ald\u0131\u011f\u0131n\u0131 anlatt\u0131. “O d\u00f6nemde K\u00fcrt\u00e7e’yle ilgilenmek tehlikeli bir i\u015fti. Eski kasetleri, plaklar\u0131 dinledik ve bir repertuvar \u00e7al\u0131\u015fmas\u0131 yapt\u0131k. Diyarbak\u0131r’da olsayd\u0131m belki bu kadar a\u00e7\u0131lmayacakt\u0131 ufkum ama \u0130stanbul\u2019da kendi \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z k\u00fclt\u00fcr merkezinde K\u00fcrt\u00e7e m\u00fczikte derinlemesine bir ara\u015ft\u0131rmaya giri\u015ftik,” diye ekledi. M\u00fczikal \u00c7al\u0131\u015fmalar ve Repertuvar Atl\u0131, m\u00fczikal \u00e7al\u0131\u015fmalar\u0131n\u0131n \u00fc\u00e7 ana hat \u00fczerinde ilerledi\u011fini belirtti: folklor \u00fczerine \u00e7al\u0131\u015fmalar, K\u00fcrt\u00e7e \u015fiirleri bestelemek ve kendi \u015fark\u0131 s\u00f6zlerini yazmak. “Folklorun zenginli\u011fi kar\u015f\u0131s\u0131nda hayranl\u0131\u011fa kap\u0131l\u0131rs\u0131n\u0131z. Ne yapaca\u011f\u0131n\u0131z\u0131 bilemezsiniz. Sanki her \u015fey s\u00f6ylenmi\u015f gibi gelir size,” diyor Atl\u0131. Bu zenginli\u011fi yorumlayarak modern bir hale getirmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 ve kendi ger\u00e7ekli\u011fini anlatman\u0131n \u00f6nemini vurgulad\u0131. “Ben ne anlataca\u011f\u0131m? Ben de anlatmaya de\u011fer ne var? Kendi ger\u00e7ekli\u011fimi anlataca\u011f\u0131m. Mehmet olarak, birey olma hallerimi anlataca\u011f\u0131m.” K\u00fcrt M\u00fczi\u011finin Modernle\u015fmesi Mehmet Atl\u0131, K\u00fcrt\u00e7e\u2019nin modernle\u015fen ve kentlile\u015fen bir dil haline geldi\u011fini vurgulad\u0131. 30 y\u0131l \u00f6nceki medya ortam\u0131 ile g\u00fcn\u00fcm\u00fczdeki medya ortam\u0131 aras\u0131ndaki farklar\u0131 dile getirerek, modern K\u00fcrt kamuoyunun olu\u015fumuna dikkat \u00e7ekti. Atl\u0131, m\u00fczi\u011fin bu s\u00fcre\u00e7teki rol\u00fcne de\u011finerek, K\u00fcrt kamuoyunun olu\u015fmas\u0131na ve K\u00fcrt m\u00fczi\u011finin geli\u015fimine katk\u0131da bulundu\u011funu \u015fu s\u00f6zlerle anlatt\u0131: \u201cK\u00fcrt\u00e7e modernle\u015fiyor, kentlile\u015fiyor. \u00c7\u00fcnk\u00fc K\u00fcrtler kentlile\u015fiyor. K\u0131rsal ortamlar\u0131ndan, k\u00f6ylerinden kopuyorlar. Kentlere ak\u0131yorlar \u00f6zellikle b\u00fcy\u00fck kentlere metropol kentlere, bat\u0131n\u0131n metropollerine, Avrupa’ya, Amerika’ya kadar a\u00e7\u0131lan bir K\u00fcrt ve K\u00fcrt\u00e7e ger\u00e7e\u011fi var. Sadece K\u00fcrtler de\u011fi\u015fmiyor. Sadece K\u00fcrtler yer de\u011fi\u015ftirmiyor. Ayn\u0131 zamanda K\u00fcrt\u00e7e yer de\u011fi\u015ftiriyor. K\u00fcrt\u00e7e kentlile\u015fiyor. \u00d6rne\u011fin otuz y\u0131l \u00f6nce benim m\u00fczi\u011fe ba\u015flad\u0131\u011f\u0131mdan bug\u00fcn daha ba\u015fka bir medya ortam\u0131 var. K\u00fcrt medyas\u0131 var. Zengin geni\u015f bir K\u00fcrt medya ortam\u0131 var. Otuz y\u0131l \u00f6ncesine nazaran. Dolay\u0131s\u0131yla bir medya dili geli\u015fti. Bir kamusal dil geli\u015fti. Bir haber dili geli\u015fti. Bu bizim \u015fark\u0131lar\u0131m\u0131z\u0131 da etkiledi. Modern bir K\u00fcrt kamuoyu olu\u015ftu. T\u00fcrkiye’deki pek \u00e7ok insan\u0131n anlamad\u0131\u011f\u0131 sorunlardan biri budur bence. K\u00fcrtlerin kamuoyu vard\u0131r. Ba\u015fkas\u0131n\u0131n kolay kolay anlayamayaca\u011f\u0131, tam olarak n\u00fcfuz edemeyece\u011fi, K\u00fcrtlerin sevindi\u011fi ve K\u00fcrtlerin \u00fcz\u00fcld\u00fc\u011f\u00fc ger\u00e7ekler vard\u0131r. Bu i\u015fte K\u00fcrt kamuoyunun olu\u015fumu demektir. Bu s\u00fcre\u00e7te bizim m\u00fczi\u011fimizle bir rol oynad\u0131. Benim ku\u015fa\u011f\u0131mdan insanlar\u0131n yapt\u0131\u011f\u0131 m\u00fczik, bir K\u00fcrt kamuoyunun, bir K\u00fcrt medya dili, m\u00fczik dilinin ortak hissiyat\u0131n olu\u015fmas\u0131na bir katk\u0131s\u0131 oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum.\u201d Toplumsal ve Sanatsal Sorumluluk Atl\u0131, sanat\u0131n toplumsal bir boyutu oldu\u011funu ve m\u00fczi\u011fin bireysel ifadeden \u00f6te toplumsal bir anlam ta\u015f\u0131d\u0131\u011f\u0131n\u0131 belirtti. “Sanat toplumsald\u0131r. Tek tek bireyler yapsa bile toplumla interaktif bir ili\u015fki i\u00e7inde anlaml\u0131d\u0131r,” diyen sanat\u00e7\u0131, m\u00fczi\u011fin ve di\u011fer sanat dallar\u0131n\u0131n insanlar\u0131 d\u00fc\u015f\u00fcnd\u00fcrmesi gerekti\u011fine inand\u0131\u011f\u0131n\u0131 s\u00f6yledi. “M\u00fczik, resim, tiyatro, sinema bu e\u015fitsizlikleri if\u015fa etme, bunlar\u0131n \u00fczerine gitme, bunlar hakk\u0131nda sorma i\u015flevi g\u00f6r\u00fcyorsa bir anlam\u0131 vard\u0131r. Yoksa biraz kuru kalabal\u0131k olur yapt\u0131\u011f\u0131m\u0131z \u015fey. Bunu bir \u015feyin hizmetine ko\u015fmaktan bahsetmiyorum. Ama \u00e7\u0131kard\u0131\u011f\u0131m\u0131z seslerin, yazd\u0131\u011f\u0131m\u0131z dizelerin, \u00e7ekti\u011fimiz g\u00f6r\u00fcnt\u00fclerin yapt\u0131\u011f\u0131m\u0131z resimlerin ya da heykellerin insanlar\u0131 d\u00fc\u015f\u00fcnd\u00fcrmesi, insan olma \u00fczerine yeni sorular sormas\u0131 \u00f6nemlidir diye d\u00fc\u015f\u00fcn\u00fcyorum. Gazetecili\u011fi de \u00f6yle g\u00f6r\u00fcyorum. Sanat\u00e7\u0131l\u0131\u011f\u0131 da \u00f6yle g\u00f6r\u00fcyorum a\u00e7\u0131k\u00e7as\u0131” Son olarak, Mehmet Atl\u0131 m\u00fczi\u011fin evrensel bir dil oldu\u011funu ve her bireyin kendi biricikli\u011fini ifade etmesi gerekti\u011fini belirtti. “Her bir insan\u0131n biricikli\u011fini, Mehmet’in, sizin ya da kameran\u0131n arkas\u0131nda duran arkada\u015f\u0131n biricikli\u011fi hi\u00e7bir \u015feye indirgenemez. Toplum b\u00f6yle olu\u015fuyor. Her birimiz bir k\u00fclt\u00fcr\u00fc ta\u015f\u0131makla asl\u0131nda bir d\u00fcnyay\u0131 ta\u015f\u0131yoruz,” diyen Atl\u0131, birey \u00fczerine d\u00fc\u015f\u00fcnmenin ve onu \u00f6nemsemenin gereklili\u011fini vurgulad\u0131. sanat y\u0131l\u0131nda m\u00fczi\u011fe ve k\u00fclt\u00fcre dair bak\u0131\u015f a\u00e7\u0131s\u0131na ili\u015fkin ger\u00e7ekle\u015ftirdi\u011fimiz s\u00f6yle\u015fide Mehmet Atl\u0131, sanat\u00e7\u0131n\u0131n toplumsal d\u00f6n\u00fc\u015f\u00fcmdeki yerini ve katk\u0131lar\u0131n\u0131 bir kez daha ortaya koydu. Sevim KAHRAMAN          <\/p>\n","protected":false},"author":2,"featured_media":2444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_joinchat":[],"footnotes":""},"categories":[5,3],"tags":[],"class_list":["post-2213","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-yerel-haberler","category-sanat"],"acf":[],"_links":{"self":[{"href":"https:\/\/radyomunzur.com\/index.php?rest_route=\/wp\/v2\/posts\/2213","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/radyomunzur.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/radyomunzur.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/radyomunzur.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/radyomunzur.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2213"}],"version-history":[{"count":2,"href":"https:\/\/radyomunzur.com\/index.php?rest_route=\/wp\/v2\/posts\/2213\/revisions"}],"predecessor-version":[{"id":2221,"href":"https:\/\/radyomunzur.com\/index.php?rest_route=\/wp\/v2\/posts\/2213\/revisions\/2221"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/radyomunzur.com\/index.php?rest_route=\/wp\/v2\/media\/2444"}],"wp:attachment":[{"href":"https:\/\/radyomunzur.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2213"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/radyomunzur.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2213"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/radyomunzur.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2213"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}