Tanzimat’tan bu yana geçirdiğimiz kültür buhranı sebebiyle tarihi değerlerimizle, sanat ve kültürümüzle aramıza büyük mesafe girdi. Bunun farkına varan az sayıda fikir ve sanat insanlarımız da vardır. Yahya Kemal onlar arasındadır.
Uzun süreli bir modernleşme ve batılılaşma macerasına sahibiz. Maalesef bu konuda ciddi hatalarımız oldu. Avrupa’ya özenirken kendi kültür ve irfan köklerimizi unuttuk veya küçümsedik. Aynı dönemde başladığımız modernleşme sürecinde Japonlar, Japon kalarak çağı yakalarken, biz kendi değerlerimizi ve yerli kültürümüzü koruyarak modernleşmeyi beceremedik.
Aydınlarımız arasında bunun bazı istisnaları vardır. Sinemacı ve tefekkür adamı Metin Erksan (1929-2012) bunlardan biridir. Yahya Kemal’in deyişiyle o “Kökü mazide olan ati” (Kökü geçmişinde olan gelecek) ilkesini benimseyenlerdendir. Erksan şöyle der:
“Bugün Türkiye’de adınıza aydın, entelektüel denilebilmesi için eğer Türk’seniz tarihinizle hastalıklı bir ilişkiniz olacak. Bir reddiyeci tavır içinde olacaksınız. Yıllar yılı barbar, göçebe dediler Türklere. Sultanlarını aşağılamak entelektüelliğin vizeleri haline geldi. Yahu kızıyorum bu adamlara. Daha tarihi doğru tartmasını bile bilmiyorlar. Peki biz göçebeydik de kim yaptı şu Buhara’yı, Semerkant’ı?”
Senaryosunu yazdığı “Haçlı Yamyamlar” Filmini yapamadığı için hayıflanır: “Tam 400 bin kişi geliyor, Anadolu’yu yakmak için. Eğer Türkler engel olmasaydı bırakın Kudüs’ü, Haçlılar Kabe’yi bile yıkmaya yeltenirlerdi. Arapların Türklere can borcu, kan borcu var. Haçlılara karşı duran tek millet Türklerdir. İşte bunun filmini yapmak istiyorum.”
SÜLEYMANİYE’NİN MÜZİĞİ
Metin Erksan anlatıyor:
Tarih ve kültür araştırmacısı yaşlı bir Alman Beyefendi ile arkadaştık. İstanbul’a geldi. En çok da Süleymaniye’yi merak ediyordu. Götürdüm. İçini, dışını defalarca hatta günlerce gezdik. Bir ara cami dışında dinleniyorken dedi ki: “Bu mimarinin musikisi de olmalı. Bana dinletir misiniz?”
Nasıl olmaz derim? Gittik konservatuara. Bütün gün klasik Türk müziği dinlettik. “Olmaz, dedi, bu mimarinin müziği bu değil.” Sonra gene uzun saatler türkülerimizi dinlettik. Gene “Olmaz!” dedi. Süleymaniye’nin müziği türkülerde de yokmuş.
Ne yapalım? Birkaç gün geçti. Almanya’ya dönüş için Taksim’deki Alman Hava Yollarından bilet aldık. Üzgündü. Tam bilet alıp çıkmışken kapı önünde zınk diye durdu, “Bulduum bulduuum!” diye Harbiye Ordu Evine doğru koşmaya başladı. Meğer o saatlerde Mehteran Bölüğü topluca prova yaparmış. Duyduğu ses Mehter müziğimizin sesi idi. Ben de arkasından yetiştim, Avluya girdik. Olanca heybeti ve gürleyişi ile Mehter talkımı karşımızda idi. Ve Alman ahbabım, iki eli havada: “Biliyordum! Biliyordum. O muazzam yapının bir müziği mutlaka olmalıydı. O müzik olmadan büyük eserler yapılamaz!” deyip duruyordu… Alman sevindi, bense şaşıp kaldım. (Gürbüz Azak, Bir Yazar Bir Ömür, İltek, 2014)
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