Turkish Folk Songs are a passion. It's a hope, a cry. This cry sometimes finds its expression in authentic folk tunes; other times in compositions woven with Anatolian motifs. With Pir Sultan, they bring the light of the centuries to the present; with Koero&287;lu they are crowned, with Karao&287;lan they burn in passion, with Yunus Emre they carry human love to the world, with A&351;&305;k Veysel they come to life.
Through the passionate old voices of folk music as well as the dynamic new performers on the scene, the traditional lifestyle and cultural values of Anatolia find expression in the modern day. Oezlem Oezdil is a shining example of this young talent who, with both her instrument and her voice, has poured her heart and life into folk music.
Oezlem Oezdil was born in 1979 in Hannover, Germany. Her first teacher was her father, Dursun Oezdil.
Blending the tradition she received from the past with the realities and values of the present, she passes this deeply rooted tradition on to generations to come. Oezdil is aware of the great responsibility and discipline that comes with the duty of being a bridge between times. This responsibility is felt by all artists, the oral representatives of this culture. This viewpoint requires cont&305;nual renewal on the part of the artist. Since coming to Turkey for a quality musical education Oezdil has, despite her young age, succeeded in renewing herself. Her long-time producer as well as teacher Sinan Celik has no doubt had a great hand in the creation of this awareness. His artistry, attitude toward his art and sense of responsibility and discipline has guided Oezdil. At the same time, she has been influenced by her joint projects with the outstanding artists Musa Ero&287;lu, Gueler Duman, Cetin Akdeniz and Gueray Hafifta&351;.
Two aspects especially stand out in Oezlem Oezdil's music: her voice and interpretation, which transform all her songs into crystal clear expressions of sadness, joy and love; and her skill as a performer on the ba&287;lama.
After making the acquaintance of the young minstrel Hasret Gueltekin after a concert of his in Germany, Oezdil was influenced by Gueltekin's &351;elpe technique and concentrated her efforts in this area. Today Oezdil has made major contributions to that technique, but despite that, she herself considers her expertise to be more in the area of regional styles. Her teachers say she's on the way to becoming a young master; it must be true because she's been giving concerts in the foremost halls of Istanbul and Europe for years.
Her hours spent in practice, and her constant efforts to discover something new in every recording, in every sound of the masters she listens to; as if to say "my journey with the ba&287;lama has never ended and never will end," are indications of her determination and sincerity.