Welcome to Sosyete Art. Could you tell us about yourself and your dedication to art?
I’m Sinan Armutlu, 34 years old, and I’ve been living in England for 8 years. My relationship with art began at a very young age. Influenced by the culture I grew up in, I was first introduced to the saz. I had the opportunity to interact and converse with musician friends and family members early on. Due to these influences, my interest in the performing arts naturally developed. During my elementary school years, probably in the first grade (or possibly the second), I had the chance to perform solo (stand-up) in an end-of-year musamere (a traditional Turkish theatrical performance). This experience introduced me to the stage, and I was truly captivated. Later, during middle and high school, I performed with a music group we formed at school. After this performance, I decided that this field was a prestigious pursuit and maintained a continuous relationship with art.
The reason was quite simple for me; until that moment, teachers who had been strict or dismissive towards me seemed to change their attitudes positively after the concert we organized for them. Their interactions with me and my fellow team members became kinder, more attentive, and more appreciative. I began to believe that this work motivated me and had a positive impact on my physical and emotional world. I realized that sound and melody have the potential to affect people emotionally and even transform their behavior across all ages, ethnicities, and cultural groups. Since that day, I have had countless opportunities to perform in many cities and continents around the world (America, England, Wales, Scotland, Germany, Italy, Switzerland, etc.). This passion keeps me alive and turns into an energy that connects me to life. And beyond the ideal of continuing this for the rest of my life, I have no other concerns or dreams.
What are prominent elements in different art forms?
In contemporary discourse, the boundaries of what is considered “art” have significantly expanded, to the point where almost anything can be classified under this category. This broadening of the definition can be attributed, in part, to the art world’s renewed engagement with the longstanding theme of reconnecting ‘art’ with ‘life.’ Proponents of postmodernism contend that the modern fine arts system has reached its terminus, yet they encourage us to metaphorically “dance at the grave” of modern fine arts in celebration of this newfound liberation. To comprehend this proliferation of what is recognized as art and the aspiration to reconcile art with life, it is imperative to understand the origins of modern fine art concepts and institutions. The modern art system is not an immutable essence or destiny but rather a construct of human invention.
Art, as it is conventionally understood, is a European creation with a history spanning approximately two centuries. Prior to this period, there existed a broader, more utilitarian art system that persisted for over two millennia, and it appears that a third art system is on the horizon. For example, Renaissance paintings, typically framed and displayed in museums, are often presented in a manner that obscures their original function and context. These works were created for specific purposes, serving as elements that adorned bridal chests or as integral parts of bedroom walls and ceilings in meeting rooms. Viewing Renaissance paintings in isolation reinforces the erroneous belief that ancient peoples, like us, perceived art as a domain of autonomous works, reflecting profound aesthetic and philosophical considerations.
Therefore, it is crucial to engage in reflection and discourse on art or multi-disciplinary art practices. In response to the question, I posit that the most salient element in contemporary art is the expression of freedom and the challenge to the culture industry. The culture industry, so to speak, is predicated on the principle of identity as imposed by rationality. Art, in contrast, must express the non-identical by suspending this imposed identity. In this context, art distinguishes itself from other cultural products through its capacity for self-formation or the establishment of its own rules. In my view, the aesthetics of art lie in the expression of the emphasis on beauty within an individual, in a manner that evokes emotional and intellectual excitement in others.
How does the Experience of Playing an Instrument ?
Engaging in the act of playing an instrument represents an activity that demands continuous mental engagement. The process of playing involves a flow state, wherein one is constantly exploring various permutations and combinations. This persistent mental activity fosters analytical and abstract thinking about different scenarios. From this perspective, playing an instrument embodies a state of both cognitive and physical concentration, an experience that I believe is beneficial for all individuals. The act of making music necessitates minimizing verbal communication, instead relying on contextual cues to understand and respond to the surrounding sounds and movements. This practice compels me to independently address challenges while maintaining a heightened level of concentration to preempt potential issues.
Moreover, playing an instrument engenders diverse emotional states. Depending on the melody’s tonal color, harmonic texture, cohesion, and rhythm, an emotional atmosphere is created, which, in turn, evokes particular feelings. The experience of these emotions is profoundly fulfilling. While many people fill their emotional voids by listening to music, performing the music oneself yields a unique and deeply personal experience. For instance, when playing a Chopin or Bach composition on the guitar, one not only plays the melody but also perceives the vibrations and resonance produced by the instrument. This tactile and auditory experience allows the performer to attune to the flow of the music, ultimately achieving a sense of unity with it. I contend that one should derive pleasure and enjoyment from this experience.
How should an artist live?
I’m not sure how an artist should live, but I have ideas about how they should not. To put it simply, an artist is someone who knows what they are doing and why, and who possesses the ability to act contrary to the direction imposed by societal and moral values. To be more specific, an artist does not guide people through current political developments or express opinions; such a function is not their role. An artist is not a member of parliament, nor should they have five houses. Most strikingly, an artist should not enjoy or find happiness in living in a villa with a pool in a dynamic where the top 1% of the income distribution holds 99% of the capital; instead, they should have a concern about this.
One might ask if those who do these things are not artists. I don’t want to comment on this because I personally do not value anything produced by popular culture and do not see such works as genuine production. Moreover, I view everyone and everything affected by this understanding as “custom-made” individuals and works. In reaction to this understanding that tries to continuously build and create itself through other objects and repetitions, I believe that a counter-artistic understanding needs to be created. Because art is not the most precious manifestation of life. Art is a concept people enjoy attributing to themselves, devoid of sacred and universal values.
What advice would you give to young people interested in music?
Instead of giving advice, I would like to offer a different perspective. For those who are at a level where their income only covers basic needs and who work to survive rather than live, I want to be realistic about becoming a musician. Music has evolved into a serious market and industry, and entering this industry, being visible within it, requires spending money. No matter how good you are, believe me, this has no significance in the industry. Additionally, if you lack capital, you will need to work and exert much more effort. Simply put, if you do not have money to buy a guitar or if you can only save enough to buy a decent saxophone after years of working, becoming a musician and establishing yourself becomes much more challenging. I faced this reality a long time ago and feel obligated to remind young people to be aware of this reality if they choose to embark on this path.
Is it possible to make music everywhere?
I believe there has been a significant change in music following the digital revolution. Music, which began with records, cassettes, and CDs, has now completely evolved into a digital realm. We can now access millions of contents through smart phones and Spotify. Additionally, it is possible to earn money through streaming from your location without physically going anywhere; you don’t even need to perform concerts. In the 20th century, making money from music or becoming visible in the music industry required constant performances or appearances on television. However, this is no longer necessary. For instance, social media now provides the opportunity to do live broadcasts and earn limited income. Furthermore, with the door opened by the digital realm, you have the chance to reach millions of people with your music. I think this should not be overlooked. On the other hand, from my perspective, every location is a performance space and suitable for making music. It does not matter which country you are in or which culture you engage with. In fact, you don’t even need to know the language or have communication skills because music itself proves that you can establish a connection with people even if you do not speak the same language or communicate directly.
How has living in England provided you with freedom to continue your art?
One of the main reasons I moved to England was that Britain is a geographical area where creative artists have come and gone, lived, and left their mark. Jimmy Hendrix, Pink Floyd, The Beatles—these are just a few examples. In the 20th century, influences from American music, including blues, jazz, and rock and roll, were embraced in England. The “British Invasion” was initiated by The Beatles, the Liverpool band often considered the most influential group of all time. From this perspective, living here and feeling this energy gave me positive motivation. In other words, if you are a musician in England, there are very few places outside of here that are as conducive to creativity. It is easy to understand this from the reactions of listeners, the atmosphere, and the energy. Therefore, apart from the vital and cultural impact of settling in England, I can say that it has made me more open to artistic perspectives and allowed me to think freely.
What would you say to those who want to live abroad from here?
To those who want to move abroad or realize a dream related to themselves, I would always say to never lose the childishness within them. I was born as an ordinary person and lived an ordinary life. I experienced the conflicts everyone faces; I did not embark on a journey for a sacred purpose. I wanted to live my life among ordinary, non-heroic people. I aimed to show that even if you start life at a disadvantage or are born in the ghettos of Istanbul, you can still establish yourself through art in London, and I advocated for the power of imagination. Therefore, I hope my story serves as an inspiration to break free from chains and act as a bridge for others.
As a final wish, I hope adventurers always hit the road—from Çukurova, the Black Sea region, Aydın, Diyarbakır, and ordinary working-class neighborhoods… And against the prevailing understanding that sees itself as the only immutable force and currently dominates many things, may they remind that ordinary people also have the right and potential to create art as much as the elites.
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