#dead media
Deloyloy also serves as an historical document, providing a detailed account of the events of the conflict even as it interprets and comments upon them. Names of key the figures of the resistance and names of the places are noted. Details such as how the British flew in reinforcements from India to battle against the Kurds are also described in the song. The main tone of this sonic battle for the Dengbêj is the notion of betrayal. Each stanza of the song closes with the refrain: Oh the Kurds, the traitors… This is an allusion to the internal divisions among Kurdish groups, some of whom collaborated with the British, such as the native policemen in the silence cabin, delivering the message in Kurdish, from inside the modified Victoria Vickers. Taken by the microphone, his voice is amplified 1.600.000 times, and pushed through the speaker cones, raining down as “verbal bombs”.
Let’s remember the microphone in the silence cabin of Victoria Vickers and whisper these questions to it: Could this same microphone delivering the verbal bombs, be used by Kawîs Axa to record the songs of the rebellion? Can the machine take sides, can it be forced to betray itself? And in the contemporary landscape of militarized skies, can the song speak louder and for longer than the machine?