Interpretation of Atatürk’s View of Art Based on Events and Facts

Mehmed Gökhan Polatoğlu; Sümeyra Alan

Makale detayları

Interpretation of Atatürk’s View of Art Based on Events and Facts

Yazarlar:

Mehmed Gökhan Polatoğlu | Sümeyra Alan

Yayıncı:

Ataturk University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Art Time Issue 9, pp.9-17

Belge Tipi:

Makale

Yayın Tarihi:

9/2025

Belge Dili:

İngilizce

Document ID (Org No.):

2001358953

pISSN:

2791-9382

Anahtar kelimeler:

Özet:

 Mustafa Kemal Atatürk regarded art and artists as integral components of the foundational structure of the Republic, positioning art as a functional element of cultural development, nation-building, and ideological modernisation. His lifelong engagement with the arts evolved into a cultural policy following the proclamation of the Republic, leading to state-supported initiatives and institutional interventions aimed at promoting artistic production and education. In line with the principle of populism, the cultural policies implemented during this period reframed art not merely as an individual pursuit, but as a collective mechanism for shaping public consciousness. The establishment of art schools, the training of artists, the formation of artistic groups, the organisation of exhibitions, and the production of state-supported works all served as practical manifestations of this approach. Artistic education was integrated into the national curriculum, and disciplines such as painting, music, theatre, opera, and sculpture were institutionalised as transformative instruments of societal reform. This study examines Atatürks approach to art through his direct statements and actions, analysing historical documents, parliamentary proceedings, archival materials, and cultural policies. Employing a qualitative research design and document analysis method, the study explores how art functioned within the ideological and symbolic framework of the early Republic. The theoretical foundation is structured around Pierre Bourdieus concept of cultural capital, Benedict Andersons notion of imagined communities, and Antonio Gramscis theory of hegemony. Findings reveal that Atatürks view of art extended far beyond aesthetic appreciation, constituting a deliberate cultural strategy aimed at constructing the symbolic, pedagogical, and structural foundations of modern Turkey. During this period, art assumed a central role in transforming the public sphere and shaping civic consciousness, functioning as a persistent ideological instrument within Atatürks broader cultural vision.

 Mustafa Kemal Atatürk regarded art and artists as integral components of the foundational structure of the Republic, positioning art as a functional element of cultural development, nation-building, and ideological modernisation. His lifelong engagement with the arts evolved into a cultural policy following the proclamation of the Republic, leading to state-supported initiatives and institutional interventions aimed at promoting artistic production and education. In line with the principle of populism, the cultural policies implemented during this period reframed art not merely as an individual pursuit, but as a collective mechanism for shaping public consciousness. The establishment of art schools, the training of artists, the formation of artistic groups, the organisation of exhibitions, and the production of state-supported works all served as practical manifestations of this approach. Artistic education was integrated into the national curriculum, and disciplines such as painting, music, theatre, opera, and sculpture were institutionalised as transformative instruments of societal reform. This study examines Atatürks approach to art through his direct statements and actions, analysing historical documents, parliamentary proceedings, archival materials, and cultural policies. Employing a qualitative research design and document analysis method, the study explores how art functioned within the ideological and symbolic framework of the early Republic. The theoretical foundation is structured around Pierre Bourdieus concept of cultural capital, Benedict Andersons notion of imagined communities, and Antonio Gramscis theory of hegemony. Findings reveal that Atatürks view of art extended far beyond aesthetic appreciation, constituting a deliberate cultural strategy aimed at constructing the symbolic, pedagogical, and structural foundations of modern Turkey. During this period, art assumed a central role in transforming the public sphere and shaping civic consciousness, functioning as a persistent ideological instrument within Atatürks broader cultural vision.

 Mustafa Kemal Atatürk regarded art and artists as integral components of the foundational structure of the Republic, positioning art as a functional element of cultural development, nation-building, and ideological modernisation. His lifelong engagement with the arts evolved into a cultural policy following the proclamation of the Republic, leading to state-supported initiatives and institutional interventions aimed at promoting artistic production and education. In line with the principle of populism, the cultural policies implemented during this period reframed art not merely as an individual pursuit, but as a collective mechanism for shaping public consciousness. The establishment of art schools, the training of artists, the formation of artistic groups, the organisation of exhibitions, and the production of state-supported works all served as practical manifestations of this approach. Artistic education was integrated into the national curriculum, and disciplines such as painting, music, theatre, opera, and sculpture were institutionalised as transformative instruments of societal reform. This study examines Atatürks approach to art through his direct statements and actions, analysing historical documents, parliamentary proceedings, archival materials, and cultural policies. Employing a qualitative research design and document analysis method, the study explores how art functioned within the ideological and symbolic framework of the early Republic. The theoretical foundation is structured around Pierre Bourdieus concept of cultural capital, Benedict Andersons notion of imagined communities, and Antonio Gramscis theory of hegemony. Findings reveal that Atatürks view of art extended far beyond aesthetic appreciation, constituting a deliberate cultural strategy aimed at constructing the symbolic, pedagogical, and structural foundations of modern Turkey. During this period, art assumed a central role in transforming the public sphere and shaping civic consciousness, functioning as a persistent ideological instrument within Atatürks broader cultural vision.

 Mustafa Kemal Atatürk regarded art and artists as integral components of the foundational structure of the Republic, positioning art as a functional element of cultural development, nation-building, and ideological modernisation. His lifelong engagement with the arts evolved into a cultural policy following the proclamation of the Republic, leading to state-supported initiatives and institutional interventions aimed at promoting artistic production and education. In line with the principle of populism, the cultural policies implemented during this period reframed art not merely as an individual pursuit, but as a collective mechanism for shaping public consciousness. The establishment of art schools, the training of artists, the formation of artistic groups, the organisation of exhibitions, and the production of state-supported works all served as practical manifestations of this approach. Artistic education was integrated into the national curriculum, and disciplines such as painting, music, theatre, opera, and sculpture were institutionalised as transformative instruments of societal reform. This study examines Atatürks approach to art through his direct statements and actions, analysing historical documents, parliamentary proceedings, archival materials, and cultural policies. Employing a qualitative research design and document analysis method, the study explores how art functioned within the ideological and symbolic framework of the early Republic. The theoretical foundation is structured around Pierre Bourdieus concept of cultural capital, Benedict Andersons notion of imagined communities, and Antonio Gramscis theory of hegemony. Findings reveal that Atatürks view of art extended far beyond aesthetic appreciation, constituting a deliberate cultural strategy aimed at constructing the symbolic, pedagogical, and structural foundations of modern Turkey. During this period, art assumed a central role in transforming the public sphere and shaping civic consciousness, functioning as a persistent ideological instrument within Atatürks broader cultural vision.

Makale detayları

Interpretation of Atatürk’s View of Art Based on Events and Facts

Yazarlar:

Mehmed Gökhan Polatoğlu | Sümeyra Alan

Yayıncı:

Ataturk University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Art Time Issue 9, pp.9-17

Belge Tipi:

Makale

Yayın Tarihi:

9/2025

Belge Dili:

İngilizce

Document ID (Org No.):

2001358953

pISSN:

2791-9382

Atatürk

Republican art

cultural capital

nation-building

state art institutionsAtatürk

Cumhuriyet dönemi sanatı

kültürel sermaye

ulus inşası

sanat kurumları

Sayı

Makale detayları

Yazarlar: Mehmed Gökhan Polatoğlu | Sümeyra Alan

Yayıncı: Ataturk University

Ana Başlıklar: Müzik (Diğer)

Dergi: Art Time Issue 9, pp.9-17

Belge Tipi: Makale

Yayın Tarihi: 9/2025

Belge Dili: İngilizce

Document ID (Org No.): 2001358953

pISSN: 2791-9382

Sayı

Yazarlar:

Mehmed Gökhan Polatoğlu | Sümeyra Alan

Yayıncı:

Ataturk University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Art Time Issue 9, pp.9-17

Belge Tipi:

Makale

Yayın Tarihi:

9/2025

Belge Dili:

İngilizce

Document ID (Org No.):

2001358953

pISSN:

2791-9382