From Reed to Breath

Ali Erol, who has been playing reed flute (ney) for 43 years with the fire of mysticism that fell in his heart in Konya, has been transforming the reeds grown in the fields into the sound of divine love for a quarter of a century with dexterity and fine workmanship.

Erol, who was interested in what he saw in his teacher during his high school years, learned how to play the reed flute (ney) and then how to make it from his masters. The artist, who has been producing reed flute in his workshop for nearly 25 years, leaves the special reeds he has brought from the reeds or collected himself to dry in his shop for three years. The reeds, consisting of nine knuckles, are first shaped and hollowed out after a long and laborious process, and then seven note holes are drilled in certain sizes. Finally, the cane, whose parazvanes and a headpiece made of buffalo horn, is tuned and turned into a reed flute. After a long process that requires patience, Erol transforms the reed into “breath” and sends the reed flutes he manufactures both to the country and abroad. 

“PERFECT REED FLUTE IS LIKE PERFECT HUMAN”

Pointing out that the reed flute is human-like and it is difficult to make, Erol stated that “Just as man is sent from the spirit world to the earth, the reed comes from the field, being cut off from its family. It is left alone, it dries up and pales. Then a master hand touches it, empties it, pierces its bosom and clears it of excess. If a person is exposed to torture in this way and a perfect master touches him, beautiful sounds and songs will come from it like a reed flute. Just as beautiful sounds can come from a truly perfect reed flute, beautiful expressions can also emerge from a perfect person.”