No one can stop the movement

Murat KARAKUTUK

52 years have passed since the soil turned back to soil. Veysel is best known for his words: "Veysel, I came from nothing, I vanished and passed away."

Let's say: "Veysel, the days have passed, there was no passing you by..."

This year is the 52nd anniversary of Âşık Veysel's passing. Âşık Veysel is considered one of the most published poets during the Republic period. There are museums in his name, even his two rooms are places of pilgrimage. The 'Âşık Veysel Şatıroğlu and Local Musical Instruments Museum', which opened in Sivas on June 15, is a must-see.

This modern museum , designed with Erkan Doğanay's curation, is suitable for the visit of disadvantaged people. The collections of Veysel's granddaughter Nazender Süzer Gökçe and her husband Gürsel Gökçe are located in the 400 square meter museum. It can be a free start, where valuable inventories, abandoned family documents are also exhibited. But the real thing should be to come here and overflow from here and reach nature. Because an ethnologist's definition is so true that: "It is the tumulus of folk poetry" said this thinker. The most comprehensive aspect of Veysel is his arrival from falling in love to becoming love. Minstrelsy is a station, it lasts until the body flies from its cage and is born from trouble. Everything changes, trouble remains. Art is also born from illness and Âşık Veysel is one of the best examples of this. What I mean by beauty is the purest of aesthetics; it is the form and content, in other words, the contradiction in essence, reaching a new stage together. What was Veysel in love with? Nature. What is nature? The animate and inanimate nature outside us. In this context, Veysel's truth is actually the essence and cause of everything because in a creative void, he still proves that the world can be covered with roses if desired. There is a void in his eyes, and so is the apparent view of him. In the midst of all the misery of the steppe, of that old world, the people outside were looking at a bleak lot who lost his sight at the age of 7 due to smallpox. Because that was the perception of reality. However, the entire spiritual personality of the lover is the production of a life that does not bow to the ease of being content with these great difficulties. In a TRT interview in 1969, he says: "If I had eyes, I would not be able to see the earth, I would not appreciate its value, I would trample it and pass by." Existence is established in non-existence, if left, emptiness, that black order; becomes rote. Veysel strengthens with his saz, with his love. He says, “No one can stop the movement” and feels that everything, especially the thought, is in the flow.

If the world were beautiful, there would be no beauty. Âşık Veysel paved the way for increasing beauty and replacing order with a new one 'day and night'. He knew that beauty was worthless, that everything existed with a look. That is why those who suffer from his existence understand his suffering. Suffering is the essence of art and therefore the perception of reality that creates what is permanent in life, and it is a symptom. Veysel is the one who can reveal the essence of contradiction in a qualified way. He is still a blessing and potential for humanity. In his life spent with love, he has produced many works from şathiye to türkü, from the political to the philosophy of Sufism, and he has also shown the crises and transitions of a history. Veysel should be read and listened to and flow to new paths with him.

"We always sing our songs with increasing excitement. What discourages and bores us is the indifference of the people. Once the people show interest and listen to us wholeheartedly, we become more enthusiastic and enthusiastic."

Asik Veysel Satiroglu