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The Audiovisual Aesthetics and Politics of Gaye Su Akyol’s Music

Bibliographic Data

ID21996694
AuthorsÇağrı Yılmaz (0000-0003-2141-7107, Ordu University, corresponding author)
Year2025
Volume15
Issue1
Pages1-15
Publication date2025-01-01
Open AccessYes
TypeARTICLE
VenueThe Turkish Online Journal of Design Art and Communication (JOURNAL)
Journal identifiersISSN: 2146-5193 • E-ISSN: 2146-5193
PublisherTurkish Online Journal of Design, Art and Communication (PUBLISHER)
DOI10.7456/tojdac.1559760
OpenAlexW4405395878
LanguageEN
References cited16

This textual study explores the politically motivated art of Gaye Su Akyol, a notable female voice in today’s Anatolian rock scene, who opposes power-based inequities. Akyol’s music partakes of local and global musical idioms, with politically charged lyrics and allegorical music videos, all of which warrant in-depth analysis. To this end, the research initially presents an overview of Akyol’s background and Anatolian rock, her primary source of inspiration. The study employs intersectionality as a critical analytical tool to dissect the political subtexts within the audiovisual aesthetics of Akyol’s art, for she utilizes a wide variety of politically constructed symbolic imagery that enhances the depth of her narrative. Subsequently, it analyzes her songwriting and music videos—namely, İsyan Manifestosu and İstikrarlı Hayal Hakikattir, to unravel the underlying political messages through the modes of close and contextual readings. The findings demonstrate that Akyol undermines dualities such as West/East, modern/traditional, man/woman, straight/queer, culture/nature, and human/nonhuman to foster empathy, reconciliation, transformation, and hope. Her artistic endeavors challenge prevailing injustices and biases and stand in solidarity with Others through a spotlight on inclusivity and diversity. The research concludes that Akyol crusades for progressive values against inequalities through her contrarian art

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Highly citedNo

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