Blackness is the source of creativity. Through its haven, there are wonders and delights of hidden beauties, awaiting to be discovered. The depths of its coloring, centers the Universal. It means that every nation, and section of Earth’s spacing, is intertwined into this segment of Universal blackness. That’s the natural way of our foundation. One of the beautiful things surrounding this color, is that it takes humanity into that fantasy world, that we wish. Its part of our desire. Our awakened desire to participate with the magic of our creativity. We want to go into that other world, AND we want to bring it into our reality. On a cultural and national level, it is only human that we depict our cultures, within that creative nectar. When such happens, its fascinating to observe how different cultures and Beings of humanity are able to present their artistry, within Blackness.
Turkey, too, brings a unique enchantment into the personification, and performance of Blackness, through the world of music and visual aesthetics. Of course there is the legacy of Esmeray! She was the Afro-Turkish singer-the epitome of representing the essence of Blackness, within the Turkish language. Representing one form of Blackened femininity within this piece of Earth, through the context of the Aegean Sea! What are the stories and mysteries within the Blackened whispers of Aegean waters, washing ashore onto Turkish blooms? Now, isn’t that a lesson to hear? Aren’t such spaces open traces for works of fiction, yet to be written? Now, that’s a tale, within itself!
We continue to return back to one Mother image of Turkish domain. We must. We have to. Through it, we are able to nourish, sustain, and affirm the women, within any particular land, nation, or culture. Connecting with the feminine essence, out of respect for what they have created, within their own culture. Its beautiful, nutritious, and serene!
And so, there is one performance by the late, Muzeyyen Senar, which tickles the imagination of Turkish people, and her land, in the comforts and decor of Blackness. That performance is of the 2005 performance of “Haydar, Haydar.” Its filled with the auspicious nature of what it would be like when the realm of Universal, Blackened, aesthetics is nourished and brought into a euphoric light. Presented and performed in its natural beauty, before it was tainted with the mistakes, deceit, and abuse of human error. The video for “Haydar, Haydar,” is but one example into how Turkish people could dip their artistry into Universal Blackness, with a Turkish tongue. Couple that with the music, the artistry, and the very persona in its domain, and you find a passionate performance, and a different side to Blackened artistry, in its artistic form.
In the video for “Haydar, Haydar,” Muzeyyen Senar is surrounded by different musicians, in formal, black attire playing various instruments. Some are playing the Oud, the Violin, the Qanun, and other instruments, whose name (and presence) I am currently unfamiliar with. In her traces of golden sparkles, Senar is also covered in Blackness‘ touch and timber. That is simply the beauties of truth in being comfortable with this realm. Choosing to have an open mind and bridge forth into the “forbidden,” so that honesty’s beauty is revealed. That’s the sacred manner of this presentation.
Of course, we cannot forget about her voice. The voice of Senar, and how she conveys this newly defined venture into Universal Blackness, with a Turkish twist. It does not have to be perfect. In fact, all one has to do is, try! Muzeyyan Senar is free enough to allow her voice to take shape within these particular vibes. They are safe and filled with the context of moving through a hidden, and mysterious, domain. That’s the very nature of this silent, contextual agreement-the context of Blackness, and its placing in Turkish lands. And, Muzeyyan Senar is highlighting her personal, musical story and journey, within this level of artistry. This time she has gone deep. Close your eyes, and imagine that she is uncovering, and rediscovering, those hidden gems, within Blackness’ soils; hidden in Turkish landscapes for far too long. Such is the realness of her personal experience. One even notices the playful energy, as associated with the exploratory process. For this story in blackness, her persona (and attitude) is carefree. She is simply going with the flow. Of course, there are other songs, which conveys a more serious, and controlled form, in navigating through the paradise of Blackness. Nevertheless, this time around, we can simply relax and enjoy the experience.
Listening to this short snippet of Muzeyyen Senar’s performance of “Haydar, Haydar,” we come to experience the rhythm of the Aegean. After all, in this song, one feels the fluidity of water. A person comes to move, and sway, through that very rhythm. In fact, such is what we are observing with this specific performance. We observe Muzeyyen Senar swaying to the rhythm of thefluid beat; permitting herself to get lost in Aegean waters. Enchanting, musical, and artistic in one go!
With drink in hand, Muzeyyen Senar is nourishing herself during her performance. Again, we may not know what she is singing about, should we come with foreign ears. Nevertheless, its the energies behind, which peaks the interest of one foreign eye, birthed from those authentic, Blackened gardens, of US soil! She is beautiful and carefree in this kind of freedom, for the time Being. That’s alright, as well. Art does not always have to be so serious. There are times when we can simply fly through. It’s how we commit to this new ordeal, with navigating those Turkish waters of the Aegean; and the darkened jewels, within.
So, permit our ears to listen, and explore just what makes it euphoric, and enchanting for this delighted presentation in Blackness’ performance, in Turkish gardens. With one Turkish, Mother navigating the spacing for a tender touch, in Blackened vibes!