The pleasures of ambiguity: pedagogy and musical apprenticeship in an Istanbul art studio

‘Dealing with ambiguity’ has become a pressing concern in many spheres of contemporary life, often presented as ‘survival skill’ an uncertain world. Working ambiguity also plays crucial role the musical pedagogy Ottoman-Turkish ney (Sufi reed flute), playing which I discuss this article. Rather than constraint or deficiency to be resolved, context apprenticeship, emerges desired pedagogical force not only valued but deliberately amplified. My aim is show how embraced here productive condition that maximizes possibilities for artistic exploration, freedom discernment, and aesthetic pleasures. Les plaisirs de l'ambiguïté : pédagogie et apprentissage dans un studio artistique d'Istanbul Résumé « Gérer » est devenu une préoccupation majeure nombreuses sphères la vie contemporaine, souvent présentée comme outil survie monde incertain. Travailler avec joue également rôle essentiel musicale du ottoman-turc (flûte roseau soufie), dont l'autrice expose ici façon jouer. Plutôt qu'une contrainte ou carence à résoudre, le contexte l'apprentissage ney, apparaît pédagogique souhaitée, non seulement valorisée mais aussi délibérément amplifiée. L'objectif montrer comment embrassée optimisant les possibilités d'exploration artistique, liberté discernement esthétiques. In his book The craftsman (2009), Richard Sennett draws vital connection between ambiguity, creativity, process developing skill. To make point, he takes example work Dutch architect Aldo van Eyck, who designed hundreds public playgrounds Amsterdam following Second World War. Van Eyck discovered ‘planned urban environment fostered provoking, puts it, ‘imaginative processes enable [people] better at doing things’ (2009: 10). shaping designs, wanted children engage spatial ambiguities carefully fabricated play-scapes. No rigid boundaries demarcated these site-specific parks from rest city, nor did play objects them (cylinders, tunnels, stepping-stones, etc.) dictate they might used. Instead, let place ‘invite child actively explore numerous affordances (action possibilities) it provided’ (Withagen & Caljouw 2017). concludes ‘found simple, clear ways users parks, young old, more skilled anticipating managing edge’ 234, emphasis mine). Sennett's take on potential what we call ‘auto-topy’ – making oneself (alongside others) resonates generative practice An end-blown flute, beloved instrument art music,1 today occupies Turkey's soundscape, demonstrated recent explosion learning classes major cities. article, examine specific provides learning, whose master musicians value amplify its existence. This amplifying especially conspicuous ‘education attention’ (Gibson 1979; Ingold 2001; 2018) novice players are exposed get their intonation right. They taught appreciate inexactness two key tools art, notational score. As shall see, attention both intractability material that, by nature, standardization difficult score's problem exactitude, dual conditions must wrestle giving each note rightful melodic line. Fluency requires educated hermeneutics suspicion towards devices, including ability overcome useful insufficiencies real time playing. reveal absence reliable guidance written score produces uncertainty concerning pitch accuracy. argue rather being insurmountable problem, integral creative produce life genre music present. analysing exactly apprenticeship involves, article engages issues have been long-standing anthropologists studying practical, bodily, dimensions knowledge-making practices social fields craft (Makovicky 2010; Marchand 2008; Portisch 2010), skill cultivation, creativity (see, among others, 2011; Hallam 2007; Nakamura Wilf 2014a; 2014b; Yen 2005). One central point stressed scholarship irreducibility knowing-in-practice representational knowledge abstracts, objectifies, systematizes such knowledge. Michael Jackson's phenomenological insight summarizes ‘[P]ractical lies accomplished through conceptual order may said underlie precede it’ (1996: 34). Along similar lines, Tim Ingold's (2000, 2011) dwelling perspective decisive critique representationalist paradigm anthropology beyond, shifting analytic weight cognitive schemata cultural models practical. calls ‘process working materials just them’ (Ingold 2011: 10, original emphasis), amounts ‘corresponding things formation’ 2018: 71). collaborative work, Elizabeth (2007) situate improvisation centre bringing form into being. Improvisation, contend, made possible, demanded ‘the gap non-specific guidelines world never same one moment next’ (2007: 2). literally visible, instance, those where visual way copying model equivalent reproduction pre-existing arrangement (see Mall [2007] pattern drawing; [2007], Şenay [2017], [2005] calligraphic writing). Experimental interventions necessary, if inevitable, because must, Eitan constantly adapt one's real-time movements ‘contingency unique situation’ (2014b: 402). vicissitudes engaging dynamic practice. Nevertheless, compel consequential ‘conditions 2007: 2) intentional? Unlike other forms contingency received anthropological literature, primarily accidental outcome triggered ‘chance event’ (Pandian 2015), does entail ‘unpredictability’ (Mall 2007), ‘uncertainty’ changing (Wilf 2019: 18). What striking do respond desire wilfully accentuate defining element teaching Ney education contrives pleasure valorized affordance. generativity affordance practitioners reed, craftsmen, musicians, apprentices, whom attend act upon distinct ways. More analysis pointed out elasticity word ‘ambiguity’. A history Anthony Ossa-Richardson speaks ‘doubt plurality, plenty’, ‘twin poles (2019: 2), while Islamic studies scholar Shahab Ahmed (2016: 36) points existence ‘multiple meanings’ (and potentiality) essential qualifier. my analysis, qualities something pushes against closure fixity, enabling, instead, open function multitude interpretations. argument supplements second body research explores range fields, humanistic (Levine 1985), corporate communication management (Eisenberg 1984; 2019), aesthetics (Berndt Koepnick 2018), design (Kaethler poetry language (Empson 1949 [1930]; McMahan Evans 2018; 2019).2 complex alliance ubiquitous theme multidisciplinary literature Byers 2007). specifically, tendency analyse implications feature artwork, epitomized composer/conductor Leonard Bernstein's famous words, ambiguous, expressive’ (1976: 39-41). For Bernstein, refusal resolve phrase expected adds pleasurable tension drama work. Less paid, hand, capacity autonomy ‘law’ intentional affords practitioners. anthropology, inconstant (Engelke 2002; Meintjes 2017; Petrović Jackson (1982) describes Kuranko storytellers, cultivating license listeners interpret moral dilemmas solutions themselves. approach bridges purposeful individual discernment autonomy, positing enables meaning-makers. He contends sense ambiguous figure situation, oneself.3 Building line argument, seek convey use connects agency, autonomy. force, precisely here. It self-constitution collective self allowing ‘law’. compressed examination based fieldwork carried Turkey irregularly 2013 2018. Fieldwork involved visiting participating wide sites (private workshops, schools, religious associations, university student clubs, council-sponsored adult centres) ateliers scattered around Istanbul's sprawl. While participation settings allowed me city-wide familiarity larger field was becoming talebe (pupil) Neyzen Salih Bilgin (known honorific Hoca, master) Hezarfen enabled own submission transformative (perceptual, multisensory, ethical) There three discussion follows. First, enter reed. part shifts onto reckon score, topic raises questions about aurality/orality meaning reading ‘text’. final part, pleasures facilitated exploitation ambiguity. On warm spring day, together Istanbul, travel Samandağ, small town Hatay province southern Turkey, far Syrian border. town's fertile reedbeds nestling along Asi River special reputation makers. Taking advantage Samandağ’s damp, salty soil mild temperatures, reeds most suitable (the variety called arundo donax) grow abundantly (Fig. 1). neyzen (ney player) friends, expert maker, wants buy some reeds, contact local harvester prior our arrival. Saho first harvesters began collecting thirty years ago. At time, families were enterprise. ‘The situation changed now’, says. ‘Many unskilled cutters go before right season [ideally, November February] collect sell Istanbul cities’. Standing courtyard looking bundles light yellow stacked wall, ask him looks when cutting. ‘You eye ideal diameter reed's body’, explains, ‘and well balanced contracts node; you know much moisture left cane cutting discern tuning ney. can tell good even eyes closed’, says, pulls few samples stack demonstrate. Yet, pessimistic quality future ‘unless authorities prevent immature harvesting’, planning cross over side border try chances there. Although grows wild’, finding no easy task. demands perfect combination number elements ensure promising sound. cylindrical consist nine node segments, segment having proportional length segments. size segments determines type set in. example, longer neys lower register, overall compared shorter neys. balance tapers top bottom effects tone quality, so under loses inner metamorphosis practice, however, uniformity physical guaranteed. gift ‘nature’ (in Turkish description ‘hüdayi nabit’ self/God planted drawing self-germination), characterized heterogeneity idiosyncrasy. Canes different thicknesses, lengths slightly vary. membranes too, texture internal flesh. result defies making, comes put me: like human ever same. Are identical?’ Another versed rebab (a three-stringed fiddle), explained comparison: ‘Take rebab, instance. allows intervene form. You strings, pegs, on. certain standard techniques that. Because isn't homogeneous’. described ‘humble’ (mütevazi) ‘sensitive’ (hassas) material, yet deceptively ‘simple’ one, concluding ‘in end, becomes will so’. lacks precision, or, ‘comes lot personality’? atelier, particularity lends itself problem-solving dramatically opening holes six finger holes, fundamental tones obtained, carved straight front body, seventh hole, thumb rotated slightly, placed back. task performed replicating marked template reproducing hole anew out, responding to, foibles Millimetric adjustments allow compensating flaws quirks process, aural acuity. crafted teacher, fine would shift acem (F) neva (D) millimetres up resist natural inclination fall flat place.4 Similarly, move avoid intonation, inherent reeds. mass-produced sold stores, opened after had played owner embouchure settle. relational (izahi) temporal improvised thus entangled player's ever-evolving kinaesthetic relationship event extends beyond initial instrument. fashion electric guitarists known always modifying guitars, amplifiers, pedals manipulate acoustic makers, are, cases, neyzens, continue alterations (e.g. resizing bore height mouthpiece) progress dialogue Ironically, very obduracy sense, offers discretion maximizing opportunities directly intervening instrument's applied mechanically, if, tactile sensory engagement craftsmen develop intimate tendencies. Treating reed/player self-contained (müstakil5) human/nonhuman agent, ‘join follow’, forces flows bring being’ (2011: 13). Creative agency neither property resides craftsman. product series negotiations (Malafouris 2013). Fuyubi makes observation her study Japanese writing, entails responsive properties brush, paper, ink, ink stone calligrapher works. cannot fully tamed, she given exerts writing self-generative tools. interaction personal techniques) (nature materials) results new types works’, argues 95). Equally significant, intentionality part-constitutes things. helpful alerts us ‘consciousness's constitution “world” … acts thoughts, “objectivity” value, significance constituted subjectivity’ (Houston 2021: 40, emphasis). Alison Leitch's marble mining Italian city Carrara illuminates point. Leitch perceived recruited according intentions quarry workers sculptors it. ‘Just foreman dreams night carving mountain’, writes, sculptor rocks weep, and, releasing sexual energy stone’ (2010: 73). vein, multiple utility possesses terms appears differently poetic imagination great Sufi mystic Rumi. couplets magnus opus Mesnevi immortalize ‘perfect human’ (insan-ı kâmil) Divine blows breath. Rumi, now parted reedbed, soul separated source: yearns reunification. short, plentiful materiality matters, constitute purpose meaning. adjustments, tune several notes perfection, guarantee ney's remaining tune. matter fact, hardly case. Even ‘best’-tuned mislead player getting pitches say, ‘Because there perfect’. important rhetoric surrounds bağlama logical systematic organization . Teaching stresses logic (mantık) every turn. fingering chance whim systematized precise rules (1992: By contrast, primacy perceptions relations direct march correct pitch. If ‘is precision machine’ (Stokes 1992: 98), credits sustains intonational effectiveness lack full acclaimed composer-vocalist Alâeddin Yavaşça (1926-2021), long course career accompanied players, remarked during interview: [kâti] [güvenilir]. everyone play’.6 Perhaps differences partly contributed remarkably trajectory early decades Republic Kemalist nation-builders pursued revolution music. Fuelled positivist-modernist tenets, top-down transformation sphere state envisioned creation ‘modern’ music-making wherein ‘systematic’ ‘rational’ performance reigned. Stokes (1992) high esteem attributed ‘logical’ earned reformers, status ‘national’ sonic icon. selective Eurocentrism connected affect chief instruments meanings. Republican intellectual Ahmet Ağaoğlu asserted tunes complaining, all “ah” [sounds] oud, moaning East oppressed centuries’ (cited Ayas 2014: 177). official reformers Ottoman ‘backward’ ‘irrational’, condemning apprenticeship-based pupil ‘unscientific’ (Ayas 172-3). Music judging distance any notes. your hand doesn't give distance. relationship, ear, otherwise end bad incompetent neyzen. accident-prone [netameli] Only ear competent finds badly tuned why neyzens well; educates them. Hoca's spoken words illuminate, ‘glitch’ means relatively input musician's case with, tanbur, fretted neck physically ‘contains’ microtones peculiar system. pride artistry, leaving without ‘servitude’, context. path create flavoursome relations, playing, goes via royal road copying. Rooted long-term master-apprentice method mastering meşk demonstration imitation (Behar 2012). Sitting side-by-side receiving ‘right’ them, learn mechanics sound sensori-motor actions ‘alignment’ Wenger 1998) master. communal lessons Hoca 3), attempt demarcate learners proficiency fresh neophyte someone apprenticing share joint lesson listen students willing exhibit class, re-demonstrate modes articulation routine repeated until student's ‘copy’ satisfied taste. Surrendering authority hoca, fidelity master's expression style, implicated core ethical sensibilities Reproducing traces whole-body experience. minute compensate foibles: knowing angle lips hole; pressure exert it; position head; adjust technique harmonized together. Yuehping Chinese calligraphy, ‘copied’ ‘spatial layout strokes work’. Rather, ‘through outward appearance past apprentice fact bodily propensities movement’ (2005: 120). imitating movement other, breath stroke enabling different. However, added complexity acquired listening observing semiotic directions notation, tool novices align master, problem-solve blind spots further contributes locating turn issue next. Musicians’ reflective notation musicology ethnomusicology, situated within broader debates transmission, literacy, transcription (Iguchi Lawson Seeger 1958). large across genres indicated, symbolic static abstraction/reduction, ‘incomplete’ (Halliwell 1994), ‘diversely interpreted’ ‘improvised’ musicians’ 2008: 260). Laudan Nooshin's (2003) Iranian classical demonstrates composed notated repertoire. Western Daniel Barenboim's remark attests this: ‘[T]he truth. piece’, piece actually sound’ (Barenboim Said 2004: 33). Each brought meaning, response Barenboim ‘unrepeatability’ unfolds time. Over above liberties interpreting music, another lineage interactions ‘text’ involves conscious constitution, subsequently resolving, ‘translation failure’. historically found limited culture emergent twentieth century ensembles incorporation academic institutions education. Designed modified version staff system developed strategies visually capture microtonal makam (musical modes) structure music.7 strategy invention concept koma (roughly one-ninth whole tone)8 entextualization