Some key inspirations for Ali Doğan Gönültaş

He was born in 1936, in Ağrı, near the border where Turkey, Armenia, and Iran converge. According to Discogs, he was born specifically in Toprakkale. Other sources suggest that he was born in 1931. For instance, in “Dengbêj Şakiro, Antolojiya Dengbêjan 2”, Ömer Güneş & İbrahim Şahin include a very extended bio (in Kurmanji) and provide justifying arguments.

He was one of the students of Resoyê Gopala (also known as Dengbêj Reso) (1890-1977), who was also a master dengbêj. Among the Kurds, he is known as “Kewê Ribat” (Rabat Partridge) and “Şahê Dengbêjan” (Shah of Dengbêjs) because of his beautiful voice.

He spent his final years in poverty, until he passed away from stomach cancer in 1996 in Izmir, where he had been living for 3 years.

The portrait is from Discogs.

He was born in Kahramanmaraş. He died in January 2008.

The portrait is from the video linked with the piece.

According to Ahmet Hamdı Tanpinar, “Fuzuli considers his poetry as an adventure exclusive to the heart, and he sees the poet’s suffering as the only climate to be experienced. (He expresses this in the preface of his Persian Divan, but also mentions in the same preface that his nature is more suited to writing odes and enigmas.) In him, everything naturally gathers around the “self” and, starting from there, captures his world. Language, for Fuzuli, is primarily the means of expressing the melancholy that is the beginning of the creative process.” The poem Beni Candan Usandırdın talks about the pain of love. The title means You have wearied me to the core.

Sûsika Simo displayed a natural inclination for poetry and embarked on her artistic journey by composing and reciting her own poems. However, her path was fraught with challenges, as the acceptance of female artists in Kurdish society was limited during that era.

Undeterred, she broke new ground by becoming the first Kurdish bard in the early period, dedicating songs to the Soviet leader Lenin. In 1946, she gained recognition for her performances in traditional Kurdish clothing, singing songs in both Kurdish and Armenian.

Sûsika faced societal resistance due to her marriage to an Armenian named Kûlya Neftalyan. Despite societal beliefs rejecting such unions, she, armed with her knowledge and artistic talent, eventually gained acceptance within the Kurdish community and even within her marriage.

She formed a music group and performed in the Philharmonic of Armenia, extending her influence not only in Armenia but also in Georgia and various other Soviet countries. Through her tireless efforts, Sûsika Simo played a pivotal role in advancing Kurdish art and preserving cultural traditions.

In 1955, she achieved another milestone by becoming the first woman to sing a song called “Gulîzerê” on Yerevan Radio.

Sûsika Simo significantly contributed to the development of Kurdish bardic art and cultural work, particularly among Kurdish women in the Soviet Union, empowering them to pursue artistic endeavors.

Sûsika Simo passed away in 1977 at the age of 52. Her pioneering contributions continue to resonate in the rich tapestry of Kurdish cultural history.

“One of the prominent figures of the Kurdish dengbêj tradition, Karapetê Xaço, was born as Garapet Khaçaturyan. At the beginning of the 1900s, he came into the world in the village of Bilêder, near present-day Beşiri, as one of the four children of an Armenian family.

In 1915, he endured the Armenian Genocide. He witnessed the murder of his parents before his eyes. Alongside his three siblings, he tried to survive by begging in the Xerzan plain. It was during these days that his journey as a dengbêj (a traditional Kurdish bard) began.

His life changed when he dedicated a stran (song) to the death of Fîlîtê Qûto, a famous tribal leader. His singing was so heartfelt and beautiful that Hesê Bey, the son of Fîlît Ağa, asked him to stay with them. He accepted. During those years, he memorized, performed, and recorded even more strans.

In 1925, the young dengbêj found himself caught in the midst of the Şêx Said Rebellion. This time, he ended up in Syria, in Qamishlo (Qamişlo). He married Yeva, the daughter of the Azizyan family, an Armenian family from Qamishlo. He had four daughters and one son. He became a sought-after dengbêj at weddings.

He joined the French Legion in Syria, spending 15 years in service. At the end of those 15 years, his famous journey with Yerevan Radio began. In 1946, following an invitation from Soviet Armenia, he moved to Armenia, a place he had dreamed of going his entire life.

Yerevan Radio, impressed by the fame of Karabetê Xaço, included him in its Kurdish department. Thus began the legend of Karabetê Xaço, a voice that became a dream for many listening to Kurdish broadcasts across the Kurdish geography. Through the radio, his voice now reached all corners of the Kurdish world.

In 2005, after a century-long life, he passed away in the village of Solxoza Çaran.

Karapetê Xaço left behind unforgettable strans and klams (traditional songs) like “Lawıke Metini” and “Filite Kuto,” performed with his iconic voice.”

The portrait is from the documentary KARAPETÊ XAÇO – DENGÊN NEMIR

The song is a classic piece of Kurdish tradition. Like many songs performed by dengbêj, it blends lyrical and emotional elements with a narrative that intertwines everyday life, love, and local customs.

In this song, “Endîwerê Paytexte” mentions Endîwer, a location in the region of Botan. The lyrics include references to Nof, a central name or figure in the story, seemingly representing an unattainable or idealized love. It alludes to gestures and traditions such as wearing a special dress (fîstan) or using a cup (fîncana raqê), which could be linked to social rituals or celebrations.

The song also touches on universal themes of love, fidelity, and the struggle between fate (bext) and free will.

He emigrated to Elazığ when village was evacuated in 1993.

His first albums were recorded amateurishly in Tunceli in 1974 and 1976. His third album “Xezal” was released in 1992, followed by “Mameki Biveso” (1996), “Ne Namuso Ne Aro” (2000). He released 10 algums in total. Doğanay’s album “Kılamê Dersimi” was released shortly before his death in 2005. Doğanay, whose works have been read by Ozan Rençber, Yılmaz Çelik, Enver Çelik, Hıdır Akgül, Abbas Doğanay, Mikail Aslan and many other musicians, has taken his place among the distinguished bards of Zaza music with his unique style. Doğanay, who has been a source of inspiration for many artists from Dersim, is still known for his compositions “Mırcano”, “Dada Ali”, “Ağ Dado” and “Dilbera Dersimi”.

He died on April 2005 as a result of a brain hemorrhage.

The portrait is from the video of the song Lılo on Youtube.

It is a poignant lament that reflects themes of loss, sacrifice, and resilience. Set around the symbolic location of Quzım Deresi, it narrates the emotional turmoil of betrayal, devotion, and the struggle against injustice, expressed through promises of self-sacrifice and loyalty. The characters mentioned, such as Lilo, Xate, Hıdır Ağa, and İsmail Ağa, evoke solidarity and the pain of irreplaceable loss, particularly within familial or communal bonds. The song critiques the “broken wheel of the world,” symbolizing life’s injustices, while emphasizing hope and resistance amidst despair. It resonates deeply with Anatolian traditions of expressing collective and personal grief.

These are the lyrics (in Zazakî):

“Derê Quzimi biveso
Ax mı va Lilê mi qal u dewrani
 Xıdır Ağa vano;
Lilo axbe serê miro bo
Lalao to çito kuta tuzağa meewrano
Way leminê wayi way
Xate vana;

Lilo tu caro merex meke
Ezo meydanê Xarpite de roce san keri Xate vana;
Lilo mi Heqi di sonde werdo
Ezo na cencina xo rawa todi,way lemini
Lalao Dere Quzimi biveso

Lilê mi sona kare
İsmail Ağa vano ax be serê miro bo
Na dina gewre de kes caru nêno hurendiya bırayi
Way lemine wayi
Ax de vabo vabo,
Çerxê na dina gewre ke vabo
Heqo to nayê qebul nekerê Komeriz bêro xisme Cemşi Ağay bo”.

Çimen started playing the saz when he was 12. He was born in Saimbeyli (Adana province) in 1931. Later moved with his family to Kayseri, working as a maraba (a kind of laborer dependent on the landowner) for a village ağa (the land owner in the rural feudal system of Turkey at the time). After running away to marry with the ağa’s daughter, Dilber, they settled in Sevdili before eventually moving to Istanbul. His attempts to migrate to Germany failed due to health issues, and with the help of writer Yaşar Kemal, he began factory work. Fired for supporting striking workers, he turned to poetry to sustain his family. In 1967, he was detained during a Pir Sultan Abdal play and released under humiliating conditions. Living in a shanty in Zeytinburnu, Istanbul, his home hosted notable intellectuals and artists. Known for collecting and performing folk songs, particularly with the cura, he contributed to preserving Turkish folklore, singing works of master poets, and performing his own compositions.

The portrait is from Discogs.

There is a room dedicated to Nesimi Çimen in the virtual memorial for the Madimak massacre. You can visit it here.

These are the lyrics:

“Şifa istemem balından
Bırak beni bu halımdan
Razıyım açan gülünden
Yeter dikenin batmasın

Gece gündüz bu hizmetin
Şefaatin kerametin
Senin olsun hoş sohbetin
Yeter huzurum gitmesin
Taşa değmesin ayağın

Lale sümbül açsın bağın
İstemem metheylediğin
Yeter arkamdan atmasın.

Kolay mı gerçeğe ermek?
Dost bağından güller dermek
Orada kalsın değer vermek
Yeter ucuza satmasın

Yeter ucuza satmasın
Sonu yoktur bu virdimin
Dermanı yoktur derdimin
İstemem ilaç yardımın

Yeter yakamdan tutmasın
Nesimiyem vay başıma
Kanlar karıştı yaşıma
Yağın gerekmez aşıma
Yeter zehirin katmasın”

The lyrics of “Şifa İstemem” carry profound mystical and symbolic meaning. The song expresses a deep yearning for spiritual peace and enlightenment, rejecting material comforts and superficial remedies for life’s challenges. The poet uses metaphors like “honey” and “roses” to symbolize worldly pleasures and temporary joys, emphasizing that these are insufficient to address the deeper spiritual longing.

The repeated plea for peace and the avoidance of harm underscores the desire for inner harmony and detachment from external validation or criticism. The poet reflects on the difficulty of reaching the “truth” and warns against devaluing the sacred, urging a sincere and respectful approach to spiritual matters.

The closing verses convey the poet’s resignation to suffering (“the blood has mixed with my tears”), rejecting even basic sustenance if it is tainted with “poison” – a metaphor for dishonesty or betrayal. It highlights the poet’s commitment to authenticity, inner integrity, and the pursuit of a higher spiritual state, even at great personal cost.

And according to Dibace.net, “He was born into an oral culture. At a young age, the verses of the sultans of words such as Pir Sultan Abdal, Kaygusuz Abdal, Viranî, Kul Himmet, Ruhsatî filled his heart. Since he was born in a region that kept the oral culture and the tradition of minstrelsy alive, he constantly encountered masters and followed them with interest. At the age of 13-14, he started playing and singing himself.”

The next biography is a translation, briefly shortened, from Divrigi.org.tr.

Feyzullah Çınar was born in 1937 in Gürpınar village, located in the Çamşıh region of Sivas’ Divriği district. From a young age, he developed a keen interest in the saz and closely followed the older practitioners of the aşık tradition in his area.

From his 17 years old, he migrated multiple times between his village and cities, eventually settling in Tuzluçayır, Ankara. During this period, he met his life-changing friend, Fikret Otyam.

In 1966, his first record, Fazilet, sold 200,000 copies. At the time, singing Alevi hymns (deyiş) was not easy. Despite this, Feyzullah Çınar did not earn much from his records and faced significant financial hardship, entering a difficult period. Through Fikret Otyam’s help, he started working in cleaning services for the Ankara Municipality. He later traveled to Europe with French professor Irène Mélikoff, becoming the first bard (ozan) to reach international audiences in this way. In Europe, he gave lectures on Alevism and folk poetry, performed on radio and television programs, and held concerts. One notable achievement was releasing a long play in France, donating all proceeds to orphaned children.

Upon his return to Turkey, Çınar joined the establishment of OZAN-DER, believing in the necessity of organized efforts. Meanwhile, he continued producing records and cassettes, giving concerts, participating in interviews with magazines and newspapers, and occasionally appearing on TRT programs. In theatrical productions, he portrayed Pir Sultan Abdal. The period in which Çınar lived was socially challenging, and his alignment with revolutionaries and workers led him to perform laments and songs that even today remain bold and controversial. His defiance and strong stance earned him respect and recognition as one of the rare individuals truly deserving the title of halk ozanı (folk bard). However, his activism also led to bans, imprisonment, and torture. His travel abroad was prohibited, and his passport was confiscated after repeated detentions and disruptions at his concerts.

Despite his short life, the pressures, and restrictions he endured, Çınar left an incredible legacy: 80 45rpm records, 4 long plays, nearly 20 cassettes, around 200 compositions, countless folk concerts, and tours. He referred to himself as a worker. On the morning of Monday, October 23, 1983, while heading to work, he fell ill while passing through Kurtuluş Park and succumbed to a heart attack.

The portrait is from Discogs.

The song is a poignant exploration of disillusionment, betrayal, and the search for spiritual truth. It begins with the speaker’s intention to reform the world and bring about goodness, but this journey soon reveals his own vulnerabilities and the losses he has faced. He reflects on how he misplaced trust and affection, giving his heart to transient and flawed aspects of life, only to realize later the damage it caused. This self-reflection sets the tone for a deeper critique of human flaws and societal hypocrisies.

As the song progresses, the speaker narrates experiences of betrayal, where someone he trusted and loved turned out to have a “rotten essence.” Their facade of loyalty and affection caused deeper wounds upon being exposed. Despite these challenges, the speaker aspires to align with the Twelve Imams, symbolizing a commitment to spiritual and moral integrity. He rejects deceit and hypocrisy, expressing a deep yearning for truth and sincerity in a world that often falls short of those ideals.

Fergan Mirkelam was born in Istanbul in 1966. He is the only living artist (and he is active) in this compilation. He is the son of the writer Nazim Mirkalam, who had a deep passion for art since the beginning. The father spent years playing music and learned several instruments (according to Cinairoman).

Mirkelam’s discography is: Mirkelam (1995), Joker (1998), Unutulmaz (2001), Kalbimde Parmak İzin Var (2004), Mutlu Olmak İstiyorum (2006), RRDP (Rakın Rol Disko Parti) with the band Kargo (2010), Denizin Arka Yüzü (2013). In 2017, a tribute album titled Mirkelam Şarkıları was released, where various artists performed his most iconic songs.

Ali has chosen the song Her Gece, but it is interesting to mention that Mirkelam’s third album included the song Kokoreç, in which Mirkelam uses the popular Turkish street food, kokoreç (made with intestines of lamb) as a metaphor to criticize the norms and policies of the European Union towards Turkey during that period. In the lyrics, Mirkelam highlights the cultural and political tensions between Turkey and the EU, using kokoreç as a symbol of Turkish cultural identity that should not be undervalued. The song was well-received for its humour and light-hearted critique, becoming an iconic piece during that time. And Ali loves kokoreç (the editor of this text loves it too).

The portrait is from his Facebook page.

According to the aforementioned book, the debut album, “illustrates, for Turkish listeners, all of the virtues and vices of contemporary Turkish pop. It is, effectively, turbo-charged Arabesk, with a distinctly Turkish sound to the melodic line and vocal style, but with a pounding dance/techno pulse”. The music video for the song was directed by Umur Turagay. In it, Mirkelam is seen walking and running through the streets of Istanbul. It was a revolutionary concept at the time and remains one of Turkey’s most iconic music videos and it made Turagay a highly sought-after director in the industry.

This song is about the end of a love. The song explores the emotional pain and longing that follows the end of a romantic relationship. The lyrics reflect themes of nostalgia, heartache, and the inability to forget a past love, despite efforts to move on. You can find the lyrics, here.