As in the cultural and literary history of all peoples, the place of music has preserved its originality, and the style of music has had significant effects on the emotions of that society in the literary history of those peoples. In addition, the musical style and identity of some peoples are also intertwined. Accordingly, when "Dengbêjî!" is said, Kurdish society, Kurdish personality, Kurdish identity, that is, Kurdish language and music immediately come to mind. Because Dengbêjî;; is not only the original musical style of Kurdish music for Kurdish society; it is also the characteristics of the resilient personality of Kurdish society and the clarification, clarity and enlightenment of the life horizon of Kurdish society. Thus, music; is the greatest power that affects and shapes the emotions of people and society. It creates a modern effect on the thoughts and beliefs, views and emotions of society, and ensures that society flows into the future with a modern and enthusiastic wave. Music is the source of joy in social life, and at the same time, it is the sharing of pains and memories, and the telling of happy events and facts. In addition to the interpretation of love and joy, painful social events and formations that burn people's hearts, sad events and behaviors are social events, so music that expresses these events in an artistic language is also listened to by all people, for this reason it has been said that "music is universal". Some pieces of music, even if their lyrics are not well understood, attract people's attention by expressing emotions and are listened to carefully. In other words, music, as a universal expression, conveys the joys and sorrows of all societies, brings them together, introduces them and enables them to teach each other. When we listen to Flamenco and watch its games, we understand the feelings of the Spanish society. In this context, we learn and are informed about the joys and sorrows of the Spanish society. The musical style of the people of the African continent, the people of the American continent, India, Europe, Russia, etc. moves, creates enthusiasm, excites or saddens all listeners. They share their sorrows and joys. In addition, all other peoples have the originality of their own language, culture, art and music. The importance of language, culture, art and music has always been preserved in the history of all peoples. The ownership and protection of language, culture, art and music has been seen as protecting the national identity and this has become the basis of the solidarity and unity of that people against national threats. Because culture and art, music and life are interconnected like the mortar of national construction and ensure the unity of all people of that people on a common basis. The music of all peoples is a bundle of emotions filtered and resolved from their own geographies. Music contains, excites and inflames the personality of the people it belongs to. In this sense, music is personality. The ownership of music should be evaluated in this way.
The unique historical life of the Kurd, which developed within a unique set of difficulties and events, has developed in the form of the national identity of the contemporary Kurdish society, the Kurdish language, culture and art, music, in other words, an abnormal process that prevented development, becoming ‘normal!’. Because the living conditions of the Kurdish society have always been abnormal; assimilation efforts, being constantly exposed to ignoring and destroying approaches, could not find the conditions to establish a normal life system and develop in the environment of heavy restrictions and official prohibitions. Here, Dgengbej is the struggle to own oneself against assimilation and ignoring. Considering all the events that the society has experienced, it has almost never been possible to live a normal life. Until 1992, its name was banned, its language was banned, its art and music were legally banned. Since it could not receive education in its native language, it was constantly assimilated and experienced meltdown. Despite being one of the oldest nations in the world, as a nation, it has lived in troubles and prohibitions throughout its history, and has lived under abnormal conditions, deprived of a free environment, and under prohibitions!.. In the current prohibited and restrictive environments, it has displayed an honorable attitude as much as the conditions allowed, and has embraced its culture, art, language, and music. As stated in the history of Kurdish society, Kurdish society has paid a heavy price for embracing itself, but has not lost its honor, and has preserved its language, music, values, culture, and art despite all attacks and obstacles.
In adverse living conditions, the role of dengbej in the history of Kurdish society is very important. They became the bearers of the burden of the Kurdish language and culture. They carried this burden. Kurdish dengbej and Kurdish mothers have carried the burden of the Kurdish language and culture to the present day. Of course, we are grateful to them, we offer our respects with gratitude, and we bow before them. However, after this process, this attitude needs to be developed, strengthened, and systematized. In other words, institutionalization is necessary for work. There should be an institution that teaches the tones of the sounds and conveys their meaning so that dengbej can be loved and understood. Because, if a person has detailed information, he can love, but you cannot love something you are unaware of!
Dengbej have protected the Kurdish language, culture and art despite all the prohibitions and threats. They have always managed to be the fighters of the Kurdish language, Kurdish music and art. They have secretly traveled from village to village, sang songs, composed songs, interpreted melodies, expressed the feelings of the Kurdish society and recorded them on tape cassettes according to the conditions of the day. In the Kurdish society, they have made the events, loves, passions, the subject of kilam in the dengbejî style and interpreted and read them. When it was heard that the dengbej was coming to the village, those who heard this information would prepare their cassettes and tapes in order to record the kilams, put the tape in front of the dengbej and record the dengbej's kilams. In this way, when the dengbej went to the village, there was no space left in the house where he was a guest, and dozens of cassettes were placed in front of him to record the sound of the kilams. The dengbej would perform his kilams for a long time, and the owners of the recorders would record his voice with enthusiasm. The situation of all dengbej of the Kurdish society developed in this way. Because at that time, Kurdish was legally banned in Turkey, and cassettes caused the Kurds to be arrested and punished. Therefore, these kilams of the dengbej were performed in great fear and secrecy, and were performed as an activity specific to this society.
Dengbej Şakiro, one of the dengbej of the Kurdish community, was born on December 25, 1936 in the village of Kelê in the Zedkan district of Ağrı. His family is from Zilan. Şakir is the son of Badihê Mihê Zili. Bedihe Zili migrated to save their lives after the Zila Valley massacre and remained a prisoner and fugitive for a long time. Dengbej Şakiro's family also became prisoners of the state and fugitives. In addition to his elders, his elder brothers also became fugitives from the state to save their lives. For this reason, Dengbej Şakiro was also exiled to Adana with his entire family in 1959 when he was young. They remained in exile there for 7 years. After 7 years, in 1966, they were finally able to return to Muş. From there, they returned to Karayazı/Gogsi in the Erzurum district 2 years later in 1968 and settled there.
Dengbej Shakiro has been reading dengbejî kilams since his childhood and has educated himself with dengbej feelings. In his youth, Turkish songs on the radio caught his attention, but upon his father's warning; "Şakir, my son, if you don't sing only Kurdish songs, you are not my son, I will disown you!" This warning allowed him to integrate with national feelings. Upon his father's warning, he sets his own course and with great enthusiasm and all his might, he turns to develop Kurdish dengbej. For this purpose, he receives vocal training as a student of the famous dengbej of the period, Resoye Gopala. Dengbej Reso also sees the essence in Shakiro and cares for his development.
Dengbej Shakiro now sings more kilams every day, writes kilam lyrics and is increasingly becoming known, listened to and loved. Dengbej Shakiro's name and voice are now heard in all circles, welcomed with great love and listened to with interest. His kilams express the feelings of the Kurdish Society, and his voice causes a social excitement. Dengbej Shakiro can develop his kilam interpretations in different tones, from time to time he prepares dengbej divans, he recites kilams day and night as a dengbej group and develops the great influence of Kurdish music. Dengbej Shakiro expresses the sad events he hears, the pains he witnesses, love stories, joys and enthusiasms in his kilams and he travels from village to village to read and shares these with the people. He has meticulously woven and expressed the heroism and betrayals experienced in the society, the pains and joys of the society in his kilams. He has read his kilams, which are known and listened to with interest in the society, with even greater enthusiasm and reinterpreted them with his own unique voice. Dengbej Shakiro has now become a source of emotion for the Kurdish community and as a defender and interpreter of the Kurdish language, culture, art and music, he has carried the burden of protecting Kurdish values with all his weight. Since his heart is in pain, he expects the entire society to protect its values! However, this pain and suffering will remain with him until his last breath! He took his last breath in Izmir on June 5, 1996, but his eyes were on the expectation that the Kurdish society will protect its values.
Dengbej Şakiro, known as "Ribat Kekliği-Ötügen Keklik" and "The Shah of Dengbej" and living according to this truth, has woven the words of the kilam with great devotion and care and recited them with his beautiful voice, and has placed the burden of ownership on the shoulders of the next generation according to his own labor and lifestyle. We found it necessary to establish an institution in the name of Dengbej Şakiro with the understanding of protecting the Kurdish language, culture, art and music. We are experiencing the joy and pride of achieving, albeit late, an institutionalization that secures and promotes Dengbej Şakiro's dengbej/artist rights under the name of Dengbej Şakiro Foundation / Weqfa Dengbej Şakiro (DŞV) in Istanbul. The aim of this study is to be an institution where the originality of Kurdish music is embraced, archived and where dengbej education will be provided and developed. In this institution, we planned dengbej education according to the name Dengbej Şakiro. In addition, Kurdish culture, art and music education, conducting scientific studies on Kurdish dengbej, language, art and music, organizing panels and conferences. From now on, this place will continue its work as the Dengbej Şakiro Foundation, Kurdish Dengbej Center.
Dengbej Şakiro Foundation / Weqfa Dengbej Şakiro (DŞV): As a result of intensive efforts, an institution was established in memory of the King of dengbejs, Dengbej Şakiro. The Dengbej Şakiro Foundation aims to protect and develop dengbej, to promote vocal training, which is a type of Kurdish music and includes the personality of the Kurdish people, to conduct academic studies on Kurdish culture and art, especially dengbej, which is the original musical style of the Kurdish Society, to conduct scientific educational research on these subjects, to teach the new generations to sing kilam, to provide education for this, to ensure the introduction of the institutionalization that will provide central service for Kurdish art to the domestic and foreign public. For this purpose, the Dengbej Şakiro Foundation aims to organize international conferences for the promotion of Kurdish music and to ensure the archiving of all these studies. Because, living conditions have not provided sufficient opportunities for the promotion of dengbej. Thanks to the Dengbej Şakiro Foundation, we, as volunteers who love dengbej, aim to develop this work, to provide academic education of dengbej in accordance with different levels, which is the dream of the dengbejs of the Kurdish Society, and to make it systematic.
In order to respond to the longing that remains in the heart of the King of Dengbejs, Dengbej Şakiro, and to relieve the longing that remains in his heart, we are establishing the Dengbej Şakiro Foundation as an apology and a debt of gratitude, and we expect the interest and support of all those concerned, all the people, and those who see themselves in the voice of Dengbej Şakiro.
With our greetings and respects
Dengbêj Şakiro Foundation founders