SİPSİ VE SİPSİ YAPIMCISI MEHMET BEDEL

Bu makalede, " Batı Anadolu'da, "Teke yöresi" olarak adlandırılan, Denizli, Burdur, Isparta, Muğla, Afyon (Dinar) ve Antalya illerinde yoğun olarak kullanılan "Sipsi" çalgısı hakkında genel bilgiler verildikten sonra, "Sipsi icracısı ve yapımcısı Mehmet Bedel'in" yapım tekniği üzerinde durulmuştur. Bedel'in, Unesco'nun (SOKÜM) Somut Olmayan Kültürel Miras projesi kapsamında, (YİH) Yaşayan İnsan Hazineleri içerisinde yer alan geleneksel el sanatları dalında "Sipsi Yapımcısı" unvanına layık görülmüş olması, Bedel'in çalışma konumuz olmasında belirleyici olmuştur. Mehmet Bedel, "Sipsi" yapım ve icra geleneğinde profesyonel icracı ve yapımcı olarak gündeme gelen ilk isim olma özelliğini taşımaktadır. "Sipsi" icrası ve yapım geleneği hakkında yeterli çalışma bulanmamasından dolayı, Bedel'in sipsi yapım ve icra geleneğine yapmış olduğu katkılar, Ulusal ölçekteki müzik toplulukları ve müzik eğitim kurumlarında sipsi sazının varlığını sürdürüle bilmesi ve geleneğin yaşatılmasında önem arz etmektedir. Makalemizde, Mehmet Bedel'in Sipsi yapımı ve icrası hakkında kazanılmış bilgi, beceri ve müzik kültürünün, geleceğe aktarılmasındaki rolü, bu yapım ve icra geleneğinin sürdürülebilir olması ve gelecekte varlığını devam ettirebilmesi için sağladığı katkılar üzerinde durulmaktadır. Halk kültürü ürünlerinin ortaya çıkarılıp, gelecek kuşaklara aktarılmasında önemli yer tutan Bedel ve benzeri sanatçıların desteklenmesi, bu kültür ürünlerine toplum olarak sahip çıkılması, Sipsi sazının profesyonel yapım ve icra tekniklerinin geliştirilmesi ve müzik eğitim kurumlarındaki eğitim hayatı içerisinde yer alabilmesini sağlayacaktır.

SİPSİ INSTRUMENT AND SİPSİ CONSTRUCTOR MEHMET BEDEL

Sipsi instrument, which is performed in a local region though it is known on a national scale, has been generally made by its performers until recently. The naturelness and accessibility of its material enabled the construction of the instrument in a simple and amateur way by the performer. Based on this, it can be said that sipsi construction hasn’t been a separate occupation. Besides, Mehmet Bedel is the first professional person that comes to mind in sipsi construction tradition. Burdur and Teke regions are known for richness of their music and dance culture. Mehmet Bedel took part in television programs, especially on TRT, which introduced handicrafts, music, dance and local performers of the region. In addition, he has been entitled as local performer and traditional Turkish handicraftsman in the list of intangible cultural heritage of The Ministry of Culture and Tourism, which is for continuity of traditonal crafts and craftsmen. He also took part in the list of Living Human Treasure of UNESCO in 2010. In our paper, after giving general information about “Sipsi”, we have mentioned Bedel’s life and his instrument construction technique. In the conclusion part, sipsi construction tradition has been discussed in the example of Mehmet Bedel in terms of professionalism. Since sipsi is a local instrument, performers should grow up in this culture and at the same time they should be kneaded with this music culture. Despite its small structure, sipsi, which is the trademark of the region, is an important carrier of culture from the past to the future. Another important point about sipsi instrument is that it isn’t based on master-apprentice relationship. Because it makes people earn a lot of money, the tradition is transmitted from father to son. A person who wants to play the instrument from outside can learn from visual and audial acquisitions. As in drum (davul) and shrill pipe (zurna) performance, solo performance is a traditional issue for sipsi, too. The main reason of this kind of performance is in order not to have worry about accord. Besides, collective playing tradition in professional and semi-professional music ensembles has brought with worry for accord accuracy. Based on its lexical meaning, it can be seen that the substance of word “Sipsi” is musical instrument. The word has connotations, too. These connotations have other names. In other words, these connotations are metaphors. Yet, the musical instrument “Sipsi” is called only by this name. Sipsi, which is a small instrument, means “small” in the region, too. Besides, the reed of zurna is called sipsi. Sailor whistles are called sipsi in some regions, too. Mouth piece is the most important point during sipsi performance. It is taken into the mouth till the part where it is combined with the body. The open part of the mouth piece is closed with the tongue or a material. Thus, it produces sound. It is very difficult to close it with tongue. Only virtuosos in the region can succeed this. Sipsi constructor Mehmet Bedel was born in Aziziye village of Burdur in 1964. He finished primary and secondary school in Burdur. Then he graduated from Anadolu University, Faculty of Management. He grew up with the sound of his father’s bağlama. He started to play sipsi and kabak kemane in 1980. He started to perform folk dances in the same years. He participated in folk dance contests with variuos associations and schools as dancer and musician. He started to work as civil servant in Provincial Directorate of Culture in Konya in 1985. He participated in Folk Music, Folk Dances and Asian Turkish Music Ensembles that were established by Güner Özkan, Director of Culture. He started to play tongueless pipe (dilsiz kaval) in 1986. He was appointed to Burdur Museum Directorate in 1988 and he started to work as a museum clerk. He still works there. Mehmet Bedel has been well-known nationwide. He receives education and performance material orders primarily from Turkish Music Conservatories and amateur and professional folk music ensembles from all over the country. This point is directly related with continuation and transmission of the tradition in the future. Sipsi, as a local instrument, evokes the emotions in the region’s melodies and comes into prominence with its specific tone color during the performance. The presence of sipsi in Turkish Folk Music ensembles is very important particularly in terms of reflecting the local music character. Sipsi should be performed at Turkish Folk Music Ensembles of The Ministry of Culture, TRT and Turkish Music Conservatories, amateur and semi-professional choirs and institutions of music education. In addition, its presence in orchestras of professional music sector will be advantageous for branding and publicity of the instrument.

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