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The treatment of Turkish music and especially Turkish pop in the Federal Republic of Germany has been characterized by various mechanisms of demarcation since the 1960s - that is, since the arrival of a strong Turkish presence due to the recruitment agreement. In this chapter, we would like to explore the questions of where these mechanisms take effect, by whom they are argued and in what ways, as well as how they have changed over the period from the 1960s to the present. Since demarcation is not a purely musical phenomenon, but has to take related social aspects into account, we will first look at the phenomena of social and cultural demarcation in German society, especially with regard to migrant communities. Subsequently, we pursue a series of core questions concerning Turkish music and its audience, its musical functions and the music market, as well as the respective evaluations of Turkish music in Germany. Answers to our core questions led to a critique of the music-related aspects of German migration policy and the institutional treatment of Turkish music in Germany. One of the biggest problems, from our point of view, which is clearly shown by the phenomenon of self-exclusion, is the lack of discourse, historiographical transmission and structured access to migrant cultural expressions. Using a discourse-analytical approach that draws primarily on statements from politics, academia, journalism and musical practice, this chapter analyses the workings of the mechanism that has excluded Turkish music throughout the decades. [ABSTRACT FROM AUTHOR]

This article seeks to analyse the images that accompany the hybrid musical genre of the 1960s and 1970s called Anatolian Pop in Turkey. The unique characteristic of this musical style is twofold; firstly, it stems from the polycultural nature of the genre as it brings together European, Mediterranean, Arabic, Balkan, and other post-Ottoman ›musicscapes‹ (drawing on Appadurai 1996), and secondly, it blends rural and urban elements up to a point that can be called ›rurban‹, a term adopted from urbanism. The latter also needs to be examined in the context of migration flows from rural Anatolia to larger cities mostly in the west of Turkey. Anatolian pop music developed in a globalising-localising context, a ›liminal‹ place and space of both domestic and international cross-cultural communication. The rurban character of Anatolian Pop is for one part present within the music, but also in its materiality, most prominently in the metamorphosis of the rural lute saz into an electrified urban rock instrument. Rurbanity is, however, equally inherent in the images produced alongside this music: for record covers, magazines and films that show musicians, fashion garments, accessories, and instruments. These images can be read as documents of particular social, temporal and/or spatial relationships, and can thus be analysed in the context of the sociology of knowledge. Mainly based on a sample of 1970s Turkish weekly pop-culture magazine Hey, the article examines how the interplay of rurban fashion and music works, and how these discourses were framed in the photographic images. The authors also investigate the visual and discursive links between the kostüme avantür films of the period and Anatolian pop music. Thus, the objective of this analysis is to uncover the incorporated habitus of the period, i.e., the sometimes unconscious and unreflected patterns of behaviour and valuation in a society (Bourdieu 1989). [ABSTRACT FROM AUTHOR]

In the history of documenting music, Roger Tilton's film Jazz Dance (1954) is an outstanding experimental approach to early direct cinema. By using a novel, genuinely audiovisual, non-staged, multi-angled approach to recording, the film opened up new ways to capture the vibes of the filmed event and thus turn jazz into film. This article seeks to remedy the lack of academic engagement with Jazz Dance by outlining its status as a seminal example for early direct cinema as well as documenting jazz and jazz dance. To that end, the means and techniques chosen by Tilton and his collaborators to convey the impression and vibe of jazz as well as the aesthetic approach to the combination of jazz dance and music in the film will be analysed. Furthermore, Jazz Dance will be discussed and positioned within in the larger field of documentary films that bring together jazz music and dance. [ABSTRACT FROM AUTHOR]