“My hope is that the Turkish blues community, which is already recognized and appreciated in the international blues world, will also receive the same appreciation here at home. Normally, people might phrase it the other way around—“we want the recognition abroad that we already enjoy at home”—but things don’t always work so logically in my country.”

Göksenin Tuncali (Blues Derneği):

The Blues is Alright - The Blues is a Healer

The Blues Association in Türkiye was established to activate and develop civil society activities related to blues music and to support individuals and organizations working in this area. The Blues Association was founded to enable and improve civil society activities related to blues music and provide support to individuals and institutions working on blues projects. MISSION: To increase the number of blues listeners and blues musicians in Turkey. To increase the number of local and international events. To provide funding, ideas, and communication support for blues projects. To build a bridge between generations of musicians. To strengthen the place of women in blues music.

(Photo: Göksenin Tuncali & Gürkan Özbek of Blues Derneği (Türkiye) with the KBA award, Memphis TN) 

The Blues Association was established to develop and support civil society activities related to music and various art forms, particularly the promotion and dissemination of blues music in Turkey and internationally. President of the Board (Blues Derneği) and blues musician, Göksenin Tuncali says: “We established the Blues Association to develop and support civil society activities related to music and various art forms, particularly the promotion and dissemination of blues music in Turkey and internationally. We continue to keep the universal spirit of the blues alive through numerous activities, including concerts, workshops, talks, festivals, member-only events, and European Union projects, in which both musicians and music lovers volunteer.”

Interview by Michael Limnios    Special Thanks: Göksenin Tuncali & Blues Derneği team

How has the music influenced your views of the world? What does the blues mean to you? 

My interest in the blues started many years ago when I noticed that the blues bands I listened to in bars in Türkiye were almost entirely made up of men. And on top of that, their setlists mostly consisted of songs by male artists. Later, I realized this wasn’t just a local thing — it was pretty much the same worldwide. I thought, “Are there no women blues artists?” and started digging deeper. What I found really shocked me.

Turns out, most of the very first blues records in history were made by women. There’s even a genre called “classic female blues,” which is unique because it’s the only period in music history dominated by women. These women fought racism and sexism through their music and were pioneers for both feminism and LGBTQ rights. Learning all this completely changed my life.

From that day on, I continued my stage career with a project called “Woman Blues with Göksenin,” where I played women’s blues songs and told their stories. Because many things I wanted to say — even shout out loud — had already been said by these women a hundred years ago. And sadly, their words are still valid today. I wanted to highlight the struggles we still haven’t overcome in a century, refresh our collective memory, make sure we don’t forget the battles fought, and maybe even say out loud what we still can’t express — all through the blues. To draw strength and give strength.

Blues history begins with one of humanity’s greatest shames: slavery. Following that, it exposes widespread racism, oppression, discrimination, poverty, and unimaginable double standards. Through blues, we hear the feelings, fears, daily lives, coping mechanisms, and even the humor of people living under these harsh conditions. And we see how, as blues musicians play and share their “state of being,” everyone finds comfort; pain lessens when shared, and joy multiplies when shared. I thought to myself, “Is there any better way than this?”

“For me, the most interesting period is actually now. On one hand, there’s a growing awareness and, for the first time, an actual organization with the founding of the Turkish Blues Association. Whether it will really work and sustain itself remains to be seen—even though I deeply hope and dream that it will.” (Photo: Blues Derneği / Turkish Blues Association)

How did the idea of Blues Derneği come about? What are you doing to keep the blues music relevant today, to develop it and present it to the new generation? 

I felt the need for a sense of unity as I kept playing blues and meeting other musicians and bands from Türkiye’s underground blues scene. As you can imagine, blues is not one of the most popular genres in Türkiye. Like in many underground music circles, there was always this idea of “we should come together, expand our world” — good-hearted conversations over drinks, but rarely something that turned into reality.

Years ago, during one of those nights, my close friend, music partner, and now vice president of the Blues Association, Gürkan Özbek, and I decided to finally make it happen. The biggest question was financing — and we knew this was not something a few people’s small contributions could sustain. That night, we started researching European Union art project funds, digging through complex regulations in Türkiye and Europe, and weighing all the risks. And risks there were — because civil society organizing in Türkiye is neither common nor easy. But by dawn, we looked at each other and said: “We can do this!”

My background as a pharmacist specializing in regulatory affairs and licensing, and Gürkan’s expertise as an environmental engineer and occupational safety specialist, helped us navigate those legal frameworks. The rest was finding volunteers willing to step up — which, luckily, wasn’t too difficult. We weren’t creating something out of nothing; we were sparking a desire that already existed.

We founded the association with 8 people, and at our very first event, our membership count passed 100. Today, we have hundreds of members, dozens of active volunteers, and thousands of blues-loving supporters. Since officially becoming an association in 2018, we have organized 39 blues concerts and 40 blues workshops — despite the fact that 2.5 of those years were lost to the pandemic. From raising awareness of blues on social media, to supporting young musicians and especially women in music, we have worked tirelessly.

Last year, the American Blues Foundation recognized these efforts — both our collective work as an association and my personal music journey — by awarding us the Keeping The Blues Alive Award. An incredible honor!

Yes, we are truly trying hard to keep the blues alive. Passing blues on to new generations is one of our core missions. That’s why we send young people to art camps in Europe through EU-funded projects, enabling many talented young artists — who otherwise would not have the chance — to collaborate and create with peers from different countries. Before they go, we simply ask them: “If you can add a little bit of blues to your productions, we’d be thrilled.” And they are more than happy to do so.

For example, in 2022, thanks to our young musicians, blues was performed for the very first time in the 20-year history of a youth art camp in Germany — and since then, blues has become a regular part of that camp’s program. Another project we’re proud of was with the Cologne-Nippes Hip Hop Collective: after receiving training with us, our young musicians wrote and recorded an original blues song, which the German hip-hop youth then reinterpreted as a hip-hop cover. Both groups documented their process and shared it with the world.

I truly believe that projects which support young people, understand their needs, and combine today’s cultural dynamics with blues are key to keeping this music alive. And I see firsthand how powerful that can be. In fact, I believe that in almost any setting, young people’s needs can be supported through blues — as long as we’re willing to listen to them and expand our capacity accordingly.

“Blues history begins with one of humanity’s greatest shames: slavery. Following that, it exposes widespread racism, oppression, discrimination, poverty, and unimaginable double standards. Through blues, we hear the feelings, fears, daily lives, coping mechanisms, and even the humor of people living under these harsh conditions. And we see how, as blues musicians play and share their “state of being,” everyone finds comfort; pain lessens when shared, and joy multiplies when shared. I thought to myself, “Is there any better way than this?”” (Photo: Göksenin Tuncali, president of Blues Derneği, Blues Foundation, Memphis TN)

Why do you think that the Blues music continues to generate such a devoted following in Türkiye?

There are a few reasons, I think. First, the popularity of blues-rock icon Yavuz Çetin has been growing among young people in recent years. After that, Batu Mutlugil—who is also one of the founders of our Blues Association—has done wonderful work to connect with the younger generation. Our Association itself has also played a role with our activities over the past years, raising awareness and encouraging people to explore the Blues.

But beyond these efforts, I believe Blues really resonates with Türkiye—both musically and socially. In our own folk music traditions, we also have stories of hardship and resistance, like in the old sharecropping (“ağalık sistemi”) system. Many people here who discover the Blues often say they feel this connection, almost like hearing an echo of our own “türkü” ballads. And of course, with more young people speaking English now, the doors are more open to experiencing the lyrics and messages of Blues songs directly.

There is also a striking historical detail I sometimes mention, even if it may not be a direct reason. About one-third of the enslaved Africans who were taken to America were Muslims. Many of them tried to continue their practices—reciting prayers, reading the Qur’an melodies, and even calling the adhan. As several respected musicologists have pointed out, the roots of the Blues—those field hollers sung in the fields—carry clear similarities with the West African adhan melodies. Some of the very few written sources from that time even speak of “Mohammedans singing mournfully.”

When I listen to the field hollers and think about this, I sometimes wonder: “Maybe this is why I feel such a deep pull when I hear a simple field holler… Could it be the echo of a familiar sound I have heard five times a day since my childhood?” And perhaps this knowledge itself could be a bridge—for people who think they are different, to realize they may be closer than they imagined.

“So the truth is: this is not only a “woman in music” issue, it is a “woman in society” issue. Inside me, I only carry the power given by those who already screamed the truth a hundred years ago—and the rebellious fire fueled by the fact that nothing has truly changed since then.” (Photo: Blues Derneği / Blues Association of Türkiye)

What do you miss most nowadays from the blues of the past? What are your hopes and fears for the future of?

What I miss the most is having more venues that truly preferred blues. Unfortunately, due to economic conditions, many clubs—especially those supporting underground music—have been forced to shut down. That has left fewer spaces where blues can naturally live and breathe.

My hope is that the Turkish blues community, which is already recognized and appreciated in the international blues world, will also receive the same appreciation here at home. Normally, people might phrase it the other way around—“we want the recognition abroad that we already enjoy at home”—but things don’t always work so logically in my country. If there were real support here, I know how much we could contribute—not only to the global blues scene, but also to the cultural life of Türkiye. And I’m not alone in this; thousands of blues-loving supporters know it too.

As for my fears: with the rise of technology and AI, I worry about the decline of genuine, deeply human artistic expression. There’s a risk of creativity becoming distorted or artificial, and of people being exposed to the same repetitive music every single day. This monotony has already been going on for years. That’s exactly why I see it as my mission to both keep the blues alive and also create space for innovative, authentic work.

Make an account of the case of the blues in Türkiye. Which is the most interesting period in local blues scene?

For me, the most interesting period is actually now. On one hand, there’s a growing awareness and, for the first time, an actual organization with the founding of the Turkish Blues Association. Whether it will really work and sustain itself remains to be seen—even though I deeply hope and dream that it will.

But I can say this: running civil society organizations in the arts is difficult everywhere in the world. And I’m not talking about the Netherlands, where there are around six associations per person! In Türkiye, the number is more like 0.002 associations per person. You can do the math on what that means for civil society. But with our Blues Society, we managed to increase that ratio—even if only drop by drop. And growing drop by drop… well, that’s our way, and we’re used to it.

At the same time, this period is also unique because digital platforms and social media have started to increase the visibility of blues in Türkiye. So it’s both a challenge and an opportunity: the music has never been so accessible, but sustaining a real, living blues scene still requires people, places, and passion.

“Oh, absolutely! You know, the social parallels are really striking. In Türkiye, folk songs (türküler) often reflect hierarchical systems like the ağalık system, which is somewhat comparable to sharecropping in the US. The feelings, the struggles, even some of the lyrics—they hit home the same way. That’s why so many people in Türkiye say, “Blues is like our türkü.”” (Photo: Göksenin Tuncali, president of Blues Derneği) 

What does to be a female blues artist in a Man’s World as James Brown says? What is the status of women in blues music?

This reminds me of when they asked Etta James why she sang This Is a Man’s World, and she said: “Because I believe it’s the truth!” I agree. I live in that very world. That’s why, in my concerts, among all the women’s songs, I always slip in one answer song from the men: Sittin’ on Top of the World!

If I were to talk about the struggles I’ve faced simply for being a woman—whether in social life, professional settings, or even in the deepest layers of my own subconscious—it wouldn’t fit in this interview. It wouldn’t even fit in volumes of encyclopedias. And the more I become aware of it, the worse it feels, because every memory triggers more anger and grief. And I know this: I’m among the lucky ones. I can stand on my own feet—most of the time. I can fight for my dreams—less often than I’d like. But there are millions of women who don’t even have that much, who cannot even voice what they want.

So no, I cannot sit here and make a neat commentary on the “status of women in blues.” Yes, there are more and more women stepping into blues, as gender equality awareness grows. Yes, opportunities are improving—at least a little. But we are still at the very, very beginning. Believe me, I can’t even explain just how much at the beginning we still are.

Research today shows that even in pop music, the percentage of women singers is still very low. And when it comes to songwriters, producers, or sound engineers, the situation is far worse.

So the truth is: this is not only a “woman in music” issue, it is a “woman in society” issue. Inside me, I only carry the power given by those who already screamed the truth a hundred years ago—and the rebellious fire fueled by the fact that nothing has truly changed since then.

“I felt the need for a sense of unity as I kept playing blues and meeting other musicians and bands from Türkiye’s underground blues scene. As you can imagine, blues is not one of the most popular genres in Türkiye. Like in many underground music circles, there was always this idea of “we should come together, expand our world” — good-hearted conversations over drinks, but rarely something that turned into reality.” (Photo: Göksenin Tuncali, president of Blues Derneği) 

What are some of the most important lessons you have learned from your experience in the music paths?

• Never, ever, ever—ever—listen to anyone who tells you how you should make music!

• If you start becoming popular, don’t overthink what you “should” do to keep it going; just think a little, because you don’t need to think about being yourself—you already are.

• If you are involved in less-known or underground work, spend some time helping grow that world too—even if it doesn’t bring immediate benefits. Because eventually, a growing world will grow you too.

• If you’re a woman, sometimes it feels like you need to be a man to get taken seriously—but don’t. Just play, fight, and let your music speak.

Are there any similarities between the blues and the genres of local (Türkiye) folk music and traditional forms?

Oh, absolutely! You know, the social parallels are really striking. In Türkiye, folk songs (türküler) often reflect hierarchical systems like the ağalık system, which is somewhat comparable to sharecropping in the US. The feelings, the struggles, even some of the lyrics—they hit home the same way. That’s why so many people in Türkiye say, “Blues is like our türkü.”

This connection becomes even more apparent as English literacy increases, allowing people to explore the roots of blues more deeply and to realize just how connected blues and our folk music really are.

Plus, since Turkish audiences are already familiar with rock ’n’ roll, they can pick up blues super quickly—it clicks, they make it theirs in no time.

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(Photo: Blues Derneği / Blues Association of Türkiye)