Hidden Transcript James Scott Analysis

This kind of institutionalization created a kind of social magic, which can be only achieved ‘only if the institution is guaranteed by the whole group or by a recognized institution’. In this case, the implementation of these policies is not recognized by the whole group, but by the state. According to Bourdieu, the condition for the effectiveness of ritual is the belief of everyone, and it is not actualized in this case. Still, the institutional hegemony of the Western music continues even today. For example, the first and only General Director of the Fine Arts Directorate who plays classical Turkish music instruments (tanbur and ney) was appointed in 2014, till then, all those bureaucratic cadres were staffed with the musicians who play
He makes a categorization in terms of the relationship between the dominant and the subordinate groups. Through this relationship three different communication styles occur. The first one is public transcript:
‘..the self-portrait of dominant elites as they would have themselves seen. Given the usual power of dominant elites to compel performances from others, the discourse of the public transcript is a decidedly lopsided discussion. While it is unlikely to be merely a skein of lies and misrepresentations, it is, on the other hand, a highly partisan and partial narrative. It is designed to be impressive, to affirm and naturalize the power of dominant elites, and to conceal or euphemize the dirty linen of their rule.
The hegemony of the Western music supported by state institutions represents the public transcript in terms of art. The monopoly of the media organs by the state, the education institutions, blocking the performance of the classical Turkish music, interventions to the religious music and the transformations in the characteristic structures of the folk music are the processes of the establishment of the public discourse. Moreover, the new lifestyles, the Western parties and balls organized and merely adopted by the dominant elites shows how they also naturalize their power through embracing a certain type of cultural
It is a genre that strongly affects 20 years of music culture, in the years between 1960-1980, quite in opposite way the state policies demanded. The listeners of the Arabesk music are categorized as mostly from rural areas, generally live in shantytowns, works in small businesses such as handicraftsmen, white-collar workers, factory laborer etc. In that sense, they are the people who live in disadvantageous positions and they are the unhappy fraction of the society. In that sense, the emergence of Arabesk music is usually explained in the context of migration from the East to the West, industrialization and the experiences of worker class, alienation in the urban life, the impossible loves of the class distinctions, reactions to modernity etc. by sociologists. These remarks overall skips the institutionalization of music and how the natural music culture of the people is extracted from the daily lives of the