One of the most auspicious delights of Turkish culture, and the music, are those hidden stories and communities, who are invisible to the greater realm of society. Of course they are present. Should people dare to explore more of the Turkish her/history, they will understand these other faces and places, within Turkish society. When going into the realm of Blackness, within this region of the world, we are likely to observe some very intriguing experiences. We are likely to become aware of those personifying the coloring of Blackness, and its aesthetic purpose within Turkish landscapes. What makes this such an intriguing fascination is how it illuminates the Universal purpose of Blackness, and its representation, on Earth. When adding music to the mix, Blackness takes on a different perspective, as it concerns bringing holistic well-being to a nation; while ensuring that a language is able to hear itself through Umiversal interpretations of Blackness. The magical factor of such is that through music, the perception of Blackness is transformed. What people have traditionally perceived as a negative, starts to become examined in a different light.
When we move into the topic of Afro-Turkish culture, the world is being introduced to those, who move in the color of Blackness. A very important point needing to be addressed, however, is the mentality of those who are Afro-Turkish people. What do they think about their physical coloring? How is it perceived, in their minds? Now, such is a very important question. Do they treasure the depth of their color, or is it seen as a negative-one which is meant to be enslaved? Such is a very intriguing question. In the minds of many Afro-Turkish people, do they comprehend their coloring as one of celebration, or one of enslavement? As we are putting this on the table for all to observe, such is a key theme to placing the realms of music into the conversation. For when an Afro-Turkish woman comes to perform beauty for the masses of Turkish people, we are given incite into another understanding of Blackness in Turkey. It is one of beauty, healing, enchantment, and having a voice. Having one’s own voice in society, and articulating one’s Afro identity, through a Turkish sound. What is so mesmerizing about this particular depiction, is that Blackness in Turkey is depicted as a healer- which amplifies the land of Turkey. Cleansing the nation of Turkey and amplifying her into the Universal nutrition; allowing for every sector of the nation to be elevated. Simultaneously, it mandates that a holistic exchange exist between the Afro-Turkish presence and the nation of Turkey. The interaction of give and receive. Its that circular effect, which takes place in the Universal domain, the Earth, and Heaven’s delight. It is pleasing and the epitome of celebration to the Creator. Such is a different perspective of Blackness in Turkish landscapes. Its beautiful and more Divine, than what we could ever imagine!
Venturing into Turkish domains and landscapes, we are introduced to a legendary, Turkish singer, who highlighted the beauty of Blackness, through an Afro-Turkish identity. Her voice was a dance with Turkish winds. Should you close your eyes, and listen, you will understand what I mean. Her beauty was more than the epitome of love. In fact, her very sound titillated the imagination of those, who wanted to know what it felt like to experience the beauty of nourishment and healing of Blackness in Turkish lands. What does that feel like? What did it feel like for Turkish people, who were curious about this Afro-Turkish presence, within their nation, yet did not really understand how to interact with the culture? When seeing this particular woman, did she challenge any taboos, prejudices, racist beliefs, within the Spirit of this woman? What was the impact of a legendary, Afro-Turkish singer, and her ability to get a nation to observe, and listen to, recognize, and embrace the humanity of Afro-Turkish domains? What is the legacy, aesthetics, and vocal remedies for work and performance of legendary singer. . .
Once you listen to her voice, it will never escape your mind. Her voice makes listeners feel, breathFUL! You caress the wonder of breathing, in your mind. There is an elegance of titillation and wonder, in her voice. A person cannot help, but to experience the beauty of love and care, within her. There is poetry and the Turkish language’s ability to dance with the winds, through the performance of Esmeray. The beauties within her voice gives Turkish people, and others, a taste of what it means to move elegantly, and eloquently, through Turkish winds. You feel afloat. The gentility and softness of Turkish winds comes to move through her timber. Not only does it move through her voice, but it is reminiscent of taking long walks, on a quiet day, where you can hear the wind, whisper! What is even more grand is the beauty and element of surprise into how a singer is able to vocally dance with the wind. There are silent caresses throughout her very timber. You feel safe, protected, held, and always in the company of some blessed energy. If you felt lifeless, that life was restored!
If you listened closely to her voice, you could hear a subtle glide. It is one where the tonality of the song is filled with an intriguing atmosphere in the simple artistry of breathing. In fact, Esmeray’s voice was intriguing enough to move through Turkish winds. She painted the winds with her voice. Furthermore, she was also moved to guide through different terrains, in her ability to locate what it was like to feel the tranquility’s of Turkish breeze! One of the features pertaining to the movements of Turkish winds, relates to her creation to a level of wellness; surrounding the imagery of Afro-Turkish identity and Blackness. Esmeray was one representation of dark femininity-of Black femininity, and its ability to guide people through Turkish winds. This time it was through black breezes, and the ability to maneuver them, in connection with the Universal arena of blackness and creativity.
One of the songs, by Esmeray, which highlights her ability to move through different terrain, is that of “Gel Tezekere.” The song and the video is rich and eloquent when conveying the artistry of her voice. In certain parts of the video, she is holding long sheets of white paper. There are moments when it can be seen gliding through the wind. Surrounding Esmeray is the natural haven of Turkish lands. The winds move delicately around her. And there she is, in her natural state and essence as an Afro-Turkish woman. Her voice paints, dances, and caresses the Turkish winds. The timber and delicacy within her voice, permits her to do so. She never breaks from her singing, despite the presence of winds. It is almost as if Esmeray and the sacred winds of Turkey have a sacred pact. From the moment she opens her mouth to sing, the winds dance around her. They caress her, and she blesses them.
Another intriguing component to the video and the song, is how Esmeray is presented in the video. She is wearing every part of her natural femininity. From her hair to her shoes, observers witness the beauty of Afro-Turkish femininity in modern-day dress. Furthermore, she is depicted in her softness, gentility, and capability with nature. On another note, there is a beauty in how she moves through the terrain. Her natural hair is in one with nature. It is presented as feminine, and as aesthetically pleasing to the eye. She wears her necklace, earrings, a form fitting dress, and heels. And that’s another important theme to mention-the hair!
Throughout a certain period in her career, viewers see Esmeray wearing her natural hair, as an Afro-Turkish woman. That naturally curly, tightly-curled hair, which is uniquely different from any other. She presents it as feminine. What is precious about Esmeray is how she presents her natural hair, as part of the realm of femininity. When singing, and listening to the beauties of her voice, it further amplifies her femininity, of a darker hue. Forget about Afro-Turkish femininity being portrayed as “hard,” “aggressive,” “unfeminine,’ “unkempt,” or any traits pertaining to a negative. No! One of the greatest treasures that Esmeray gave to Turkey, is an intriguing interpretation of Blackness within Turkish landscapes. How does it interpret into a manner of wellness, harmony, and in equal exchange of reciprocation, with the grander ways of Turkish society. Well, you have it through the career of Esmeray!
Another intriguing song, and video, by Esmeray is that of “Nereye,” in 1978. Again, she is in her natural state, and her voice colors the spacing, as she is surrounded by Turkish children. Within this particular song (as with others), listeners experience a vocal technique, where Esmeray adds a softer touch to vocal depth. In this regard, one hears the richness within her timber. Yet, it is glossed over with traces of cotton-like softness and eloquence. In her performances, there is not the same level of intensity or heaviness as with other singers, who are trying to express vocal depth and richness. On the contrary, Esmeray enters into vocal depth, while reflecting how her vocal artistry enters a level of depth. All the while, her light flow and mechanism, gives her the opportunity to make the vocal journey seem light, more than heavy.
When observing the video of “Nereye,” Esmeray takes on the role of Dark Mother. Granted, her presence does not devalue the presence of their own Turkish mothers, of a lighter skin coloring. However, what Esmeray does symbolize is how Turkish children are given a totally different image of Afro-Turkish women. It is a more positive, holistic, loving, respectful, and peaceful image, relating to her presence. Any presentations of her as a “subordinate,” “servant,” or slave” become dismantled. Now, they have a more holistic image of her presence. Furthermore, the children do not fear her. In fact, she is respected and honored. Her sound is pleasant, desirable, and a space of serenity and well-being. They feel safe around her very Being.
Let’s also not forget about the richness surrounding Esmeray’s voice, and the traces of metallic eloquence. Listening to her sound, a person can gain the idea of metal becoming malleable, melting, and designing itself with an artistic touch. Listen closely! Do you hear her? Do you hear that sound? Do you hear how it makes a person think about the attributes of metal and how its able to fluidly maneuver through music? We can argue that such is what gives Esmeray that Earthly, rich texture. Its intricate and places one’s ear within blackened expressions, through Turkish landscapes. This metallic vibe places one within a unique experience through Turkish sounds. The beauty of the language is reconnected with its Universal vibe and richness to the creative essence of Blackness; and how it is performed as a holistic remedy for Turkish domains. Hmm. Metals have their own particular level of artistry, don’t they?
When we trace back the earlier steps of Esmeray, we can’t deny her performance and presence onstage. What is it about theater, which vocally shapes a performer? What is it about being in the center of an open space, where Universal truth is kept, and one cannot hide behind a mask? It was in 1960 that Esmeray “dropped out” of her last year of her time at Emirgan Secondary School. She went to join the Instanbul Community Theater. It was this time, which was her first performance at a children’s play. In fact, Esmeray continued to perform in plays with this theater until 1965. Some of her more notable presentations in theater included performing on Avni Dilligil, Ozlem, Ozlem Tasdelenler, and Sezer Sezin theaters. Her last theater production was in 1974, where she shared the stage with Muammer Karaca in (Mart Bakani). And if we want to take it a little deeper, we have this to ponder upon. What is it about Turkish theater, which makes the stage so intriguing? What particular, and unique artistry, does the nation of Turkey offer to the world of theater? Lastly, how did Esmeray’s presence on Turkish theatrical stages, bring Turkey closer to their unique connection to Universal aesthetics? Now, that is something to look forward to. Nevertheless, for a later time, we can reflect upon her sacred time, in the theater world!
Our Darling Esmeray-the Afro-Turkish dame, who performed the wellness on Blackness in Turkish stages and performance halls! Now, that’s a wonder in its own right! Her voice was magical. And, through her sound, one came to explore Turkish expressions, within blackened vibes. Through her gaze, her artistry, the nation of Turkey could open up to a new world, they have never explored before. What was even more intrinsic, is how it was right in the comforts of Turkish soils. When those Afro-Turkish are content in their identity, and see Blackness in a positive, Turkey is presented with a different world; a world which nourishes the very nation of Turkey. And so, as we continue to listen to the sounds of Esmeray, let us remember one dame, who conveyed one sound of Blackness, through Turkish domains. Let’s celebrate her artistry, beauty, and delight. Pushing forward into the lens of comfort, so that Turkey could observe the beauties of a darker touch to their landscapes. Is there another way of viewing the Afro-Turkish presence? Of course! Music, and other realms of the performing arts, have a way of doing that. Its beautiful and presented in a way, where others feel they are part of the experience. Even if they are not Afro-Turkish, how does this presence draw them closer to the Universal experience with the Creator; while including in a personal journey in their own exploration with the Black presence? Creating a healthy exchange with it. How is a new experience with Turkey created? With such being stated, remember your next travel to Turkey. Should you ever experience the dances with winds, make sure you cloak yourself in vocal expressions, within!