Voice as a space of memory and sonorous object in the dengbêj tradition

This thesis studies the dengbêj tradition as a space of memory where alternative interpretations of the past and present, acoustic communication of different voices and female singing voices dwell in. This study initially argues that dengbêjs' kilams include rich historical contents by addressing that kilams have been regarded as alternative narratives bearing different interpretations of the past. Secondly, it has been pointed out that dengbêjs' voices embody a kind of acoustic language that is beyond a certain system of language. Each dengbêj possesses her/his unique timbre; therefore, their singing voices are explicated as sonorous objects that introduce dengbêjs as unique beings. Lastly, this study addresses that women dengbêjs create their public spheres through a reciprocal communication of different female singing voices. Women dengbêjs reconceptualize public spheres within which they re-establish their positions in the society by showing solidarity among women and resisting against the double oppression based on the pressure of the patriarchal Kurdish society and the politics of denial. Methodologically, this thesis is composed of textual analyses, semi-structured and unstructured interviews, and sociological observations. Existing studies on the dengbêj tradition usually consist of textual analyses focusing on the semantic substance of kilams. At that point, this thesis aims to contribute to these studies by pointing dengbêjs' voices as a sonorous object that manifests the performer as a unique being.