AYŞEN GÜVEN
Epidemics we think belonged to the past centuries, we read them in novels, we watch in movies; resurrected in an age where technology, science and medicine have developed so much. As the destruction of all living life, nature and what is natural other than humanity deepens, this threat surrounding us; showed that we should also filter our management styles, health system and consumption habits. In particular, it brought another questioning to our agenda; how has our perception of art and artist been shaped until today? The lack of a cultural policy, for example, along with the question why it was so ignored.
Because the forms of coronavirus “measures” have taken a turn that restricts artistic freedom of expression and even attempts to destroy art and artists in the name of protecting public health. We would like to think that this is not so; if cultural centers, private/independent theater venues, concert halls and movie houses, galleries and of course all workers and artists who are part of the production here were not deprived of any state support or grant. If it was seen that partial or conditional support of the ministry or local government was not the strength to salve. If tax and withholding tax were not continued to be written on the name of art venues, if their closure was not overlooked.
Or could the music, which was the source of the laments at our funerals and the dances at our weddings, silenced for so long in the face of the epidemic? No music playing for over a year; (We don’t miss the limited number of concerts and online concerts held in the summer, of course, but also their inadequacies) musicians feel abandoned, forgotten, and may even choose to end their life as a way out.
Even though musicians beam in their own eye regarding not being together, we will start with the impact of the pandemic on the industry and individual lives. Of course, we will underline the solidarity among themselves and including their listeners in bold.
From different components of music; Mavi (musician) talked about solidarity that he started with his personal effort, Ahmet Mustafa Sözmen (musician) from Mersin, his hopelessness, Onur Olgun (musician) from Istanbul, urgent requests of musicians, Uğurcan Çakar (musician) from Bodrum, the need of a job description, Meltem Karasu (Member of the Board of the Izmir Musicians Association), collective work they organized in Izmir, Ufuk Şafak (musician), that he had to work as a motor courier, Mehmet Onur Yılmaz (Solfasol Newspaper), the support event they organized with a YouTube channel in Ankara, Hünkar Çalışkan (tonmaister), who hold onto life with marketing, Serkan Fidan (Kadıköy Stage operator, festival organizer, manager), the mistakes in the economic setup of the sector and Soner Olgun (musician), on the music sector from multiple perspectives.
We hope you will follow to article series that will last six week, “Musicians Speak: Epidemic, Loneliness, Solidarity”. In order for the musician’s rebellion and call to be heard while the sound of the music is being cut off…
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The musicians, who have been tested for more than a year with unemployment, lack of creativity, being “ignored” and struggling to make a living, are trying to build bridges of solidarity among themselves or with the participation of their listeners in different cities. Musician Mavi is one of those who took up one of these lines of solidarity with an organization she started alone. Reminding her colleagues first of all about her call to join solidarity, Mavi emphasizes that everyone should be remembered for what they did and did not do during this period.
As we begin our article series “Musicians Speak: Epidemic, Loneliness, Solidarity”, we reach out from the effort of Mavi, who lives in Bodrum to the words of guitarist Ahmet Mustafa Sözmen living in Mersin, “I have no faith, I have no expectations”. We are at the corner where the perspectives of two musicians meet; here you are.
“RIGHT NOW, EVERYONE NEEDS TO DO THEIR BEST. ”
I would like to get straight to the point, can you tell us about the mechanism you have established, how you reach musicians in need and what you provide with donations?
I am trying to establish a solidarity network. That’s what my call is about. I’m trying to bring together those who want to support and those who need support. We hear some people from the music community, we are informed about some people via their relatives or they get in contact with us by themselves. On the one hand, I correspond with people who do not have support. Now, we direct donations made using the official infrastructure of the Association as cash support and/or food support (shopping card) to those in need. Of course, it is very unpleasant as the donation pool is small while the need is high, we have to make an order of urgency.
One day you got pissed off this and so undertook it?
Thousands of people were abandoned to their fate, the “let’s entertain us now” means of good times were left completely alone. By both the state, professional associations, music companies, listeners and other music workers. I was sharing posts about this, Sezi (the founder of Now Association) said, “If you want to start such a project, we will support you, you can use our infrastructure”. They had already been helping 10 music workers in Istanbul for a year. However, since the projects of the association are numerous and intense, they made only such institutional support in order to do more.
“FIRST, WE NEED OUR MUSICIAN FRIENDS THAT WILL ABONDON THEIR ARROGANCE”
What do you observe that is needed most?
First of all, musician friends who will let go of their arrogance. Dear Kalben returned with a single message and asked what could be done, shared immediately and supported. However, many names that we have persistently informed are acting like the three monkeys at the moment. Maybe the musician friends around them, in their orchestras and even in their “crew” may not be in such a bad situation; there are many tour attendants trying to look after a family, stage attendants, thousands of people who earn their living as musicians in taverns, DJs, sound technicians, and a too numerous to be counted and big industry. We have long ceased to believe in the so-called sensitivities of companies and the state, if only we could make a difference on an individual basis. We seem to look at someone else’s pain like, “Oh, it skimmed me again this time” and try to get away from it.
Right now, everyone needs to do their best. Until the summer period, when we hope restrictions will be removed, we want to support and lick wounds, thanks to the strength of our donation pool and our strength”
How can they reach you to both get help and donate to charity?
They can send an e-mail to mavihaller@gmail.com, they can also send a dm [direct message] to the Mavihaller account on Instagram and Twitter. Afterwards, we can also talk on the phone for more information or further possible questions.
You are running around to create a solidarity network for other musicians, but what do you experience as a musician?
Let me not involve myself, actually, it will turn into a very long interview otherwise. Let me just say this, I’ve been asking the “for what, for whom” questions for a long time. The pandemic has not been an eye-opening experience for me in that sense; it showed everyone that we are living in hypocrisy.
“THE BIGGEST SUPPORT CAME AGAIN FROM THE LISTENNERS”
Anatolian Music Cultures Association published a report revealing the extent of the rights violations suffered by musicians during the pandemic period, and during the research there, “Where would you want to seek support when you have a concern about your job?” It is stated that 22.7% of the musicians said that they would not apply to any specified place.
In this context, will only musicians understand the condition of musicians?
No one really understands anyone else’s conditions. No one take action unless there is a very big and sad event that makes a splash. Our memories are short-term and weak. I’m trying to make musicians understand the plight of musicians in a more difficult situation by annoying, disturbing, and sometimes through sarcasm. It is funny, isn’t it?
So how did the dilemna they have fallen into since the pandemic become invisible while musicians are doing such a visible work?
They were visible because of the work they did. When the work disappeared, it was as if they had never existed before.
There is a clear view on entertainment, youth, group action, and alcohol. Some crises have created some opportunities. I don’t think there is anything too surprising on the listener side. A musical habit of listening to an album for two cents, insulting a video with a single word, always waiting for a new product/release and never giving it any value has been developed. Concert venues didn’t see anyone except 20 people already known, I’m not even mentioning about record labels.
But still, it is interesting that the biggest support for this solidarity came from the audience. It means that there is still a segment of them that values labor. How happy.
“WHAT MORE PROOF IS NEEDED”
It is about 900 thousand musicians. And the state’s aid in this process was limited to a total of 3,000 TRY, for three months and 1,000 TRY per month. The comments of the musicians is that this is intended to be implemented in a project application format rather than social support. In order to benefit from the support of the Ministry of Culture and Tourism, the musicians were asked to prepare a video recording showing their profession. While 29,679 musicians applied to benefit from the support, 24,522 of them were able to benefit from the support. Approximately 18% of the applicants could not benefit from the support in question. What are your demands from professional organizations and the ministry?
In a parallel universe, I would have a request from the ministry, in this universe, I would rather not waste my breath. It was said that if you create a project, you will take, people were forced to share a previous stage photo. For god’s sake, you have already registered for a professional association, what more needs to be proved?
It would be nice if professional organizations distributed some of their shares, but there are many music workers who are not authors, would the power of the professional association be enough to help such a support, that is another question.
“KALBEN AND A YOUNG MUSICIAN IN A BAD SITUATION GET CONNECTED AT ONE POINT”
When we talk about musicians, there is also Tarkan and Sıla, but there are also musicians playing in a cafe, bar or wedding. Ramadan drummer too… Do these people have contact with each other? Do you think this can be established?
We are trying to establish exactly this contact. For example, Kalben and a young musician in a difficult situation come together at one point. What a magical, beautiful thing.
On this occasion, would you like to say something to your musician friends?
Of course, we see through everyone in this period, with what they did and what they didn’t do. With what they share or what they keep silent. I would like to this to be remembered.
“I DID NOT RECEIVE ECONOMIC SUPPORT FROM ANY INSTITUTION”
Ahmet Mustafa Sözmen, who lives in Mersin and plays the guitar, was playing in Turkish and other languages rock cover bands. Before the pandemic of course!
Saying that he was able to play for a total of four months in the last year, Sözmen adds that before the pandemic, he played in two different venues four days a week.
Saying that he does not have any means of living at the moment, the musician considers himself lucky as he does not have a rent problem and has been able to receive financial assistance from his family for a while.
Stating that he spent this time at home, guitarist Sözmen said, “I did not receive financial support from any institution. I only played for money in an organization of Mersin Metropolitan Municipality. It was an organization organized to support musicians,” he says. Sözmen tells that his friends from two different bands with whom he made music either had other jobs and focused on them or received support from their families like himself.
“I HAVE NO EXPECTATIONS BECAUSE I DON’T HAVE FAITH”
Seeing that it is understandable that performing arts such as music are more affected, Sözmen explains the reason for this as follows: “We are affected first due to any bad situation (epidemic, terror, mourning, economic crisis). In such situations, first we cut back on our hobbies or entertainment. It is wrong that such professions are not considered important in society. I guess it’s cultural. Maybe that’s why we can’t really be organized.”
When we were asked whether he had any expectations from any authorized person, institution or professional organization, the musician replied, “I don’t have any expectations, because I don’t have faith. In the short term, they are trying to prevent the pandemic.” he answers.
