Kolektif Istanbul has been mainly based on such a purpose that is about musical variance of Eastern Europe in the sense of traditional repertories.

By this intention which primarily refers to a subjective positioning on musical understanding through ethnic and traditional music is what the project aims to acknowledge cultural sharing and meetings in where the " raditionally repertory" represents the bulk of the marriages and to rituals that are surrounded by. 

The main context of the musical purpose is mostly focusing on the "meeting" of Anatolian and Balkan Cultures. The project has been coming to the result in which it have had two steps of musical springs, are both the five years traveling, coincidences and meetings of French saxophone player Richard Laniepce, and the "company" what is carried by a Kolektif of musicians who are attached to a specific character of music while appreciating musical explorations, as well. Nevertheless, the original characters of the melodies, inspirations, and so themes on the path of musical travel, has been overcome with "respect" and gaining ethical positions, in the other hand, while great freedom is taken with the orchestrations. Kolektif's Balkanatolia grew up from the meeting of musicians from villages, who are usually playing at fetes and marriage ceremonies in the "homeland", and musicians with improvisation backgrounds from different modern styles but all in Istanbul with the colours of Istanbul. 

Kaval" (oblique flute), "gayda" (Bulgarian bagpipes), "kaba zurna" (large rustic oboe), "baglama" (Turkish lute with long neck), clarinet, saxophone, accordion, tuba, percussion, all these instruments make this a unit with a great richness of sound which combines both the Balkan fanfare dynamism and the Anatolian "blues" depth.