Wendelmoet Hamelink
#Hanifi Baris#

This article investigates how the Kurdish home, borders and the state are depicted in one of the most important Kurdish cultural expressions in Turkey until 1980: the dengbêj art. The recital songs of the dengbêjs form a fascinating source to investigate how Kurds experienced life on the margins of the (nation-) state. We argue that the songs demonstrate that many Kurds perceived the political geography of the state they officially belonged to as foreign and not as a legitimate part of Kurdish socio-political reality. The Kurdish political geography created in the songs exists in small-scale local structures and alliances, and there is mostly no reference to a common Kurdish cause. Borders are presented as foreign interference in the Kurdish landscape. In the conclusion we suggest that Kurdish fragmented political structure should be understood as a deliberate means to avoid being incorporated in a state structure. This speaks against a (self-) Orientalist interpretation of Kurdish history that defines a lack of Kurdish unity as primitive.[1]