70 changed files with 787 additions and 396860 deletions
@ -1,6 +0,0 @@ |
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Running the application |
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$ export FLASK_A=hello.py |
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$ flask run |
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@ -1,11 +0,0 @@ |
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from flask import Flask |
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from flask import render_template, jsonify |
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app = Flask(__name__) |
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@app.route('/') |
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def hello_world(): |
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return render_template('hello.html') |
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@ -1,103 +0,0 @@ |
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{% extends "base.html" %} |
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{% block title %}Hello{% endblock %} |
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{% block body %} |
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<script src="https://ajax.googleapis.com/ajax/libs/jquery/3.5.1/jquery.min.js"></script> |
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<div class="row"> |
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<div class="col-md-9"> |
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<div class="map_area">Map area |
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<div class="row"> |
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<div class="col-md-1 col-sm-4"> |
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|
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<svg id="first_circle" onclick="scrolldiv();play();"> |
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<circle cx="50" cy="50" r="2rem" stroke="green" stroke-width="4" fill="yellow" /> |
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<text id="angela" x="50" y="50" text-anchor="middle">hello </text> |
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</svg> |
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</div> |
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<div class="col-md-1 col-sm-4"> |
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<svg id="second_circle"> |
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<circle cx="50" cy="50" r='2rem' stroke="red" stroke-width="2" fill="gray" /> |
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<text x="50" y="50" text-anchor="middle">hello boys </text> |
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</svg> |
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</div> |
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</div> |
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</div> |
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<div class="col-md-9"> |
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<audio id='audio-1' controls> |
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<source src="../static/audio/HNI_Soundinstall_3tracks_together1.mp3" type="audio/mpeg"> |
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Your browser does not support the audio tag. |
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</audio> |
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</div> |
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</div> |
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<div class="col-md-3"> |
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<div class="row"> |
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<div class="col-md-10"> |
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<div class="image_area"> |
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<p>image</p> |
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<div id="show1"><audio controls> |
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<source src="../static/audio/HNI_Soundinstall_3tracks_together1.mp3" type="audio/mpeg"> |
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Your browser does not support the audio tag. |
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</audio></div> |
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<img src="../static/images/test_small.jpeg" alt="poem"> |
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</div> |
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</div> |
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</div> |
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|
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<div class="row"> |
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<div class="col-md-10"> |
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<div class="iframe_area"> |
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<p>iframe area</p> |
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<!-- <iframe src="../static/images/abstract.pdf" width="300px" height="500px"></iframe> --> |
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|
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<div class="thesis"> |
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<span>People since the beginning have been gathering around certain sources of knowledge creating a specific reading/understanding of the world around them. Accumulated from different sources, what is inherited shapes the minds of |
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individuals, |
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communities and societies. Often times the cultural productions that happen in reverberance to these processes guide the researchers as they become an archive - a memory space for collective affects of former and contemporary societies. |
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Aware of my lack of knowledge on all the processes of inheriting from my own history; geographically, ethnically and politically, I attempt to understand the effects of the accumulated sets of knowledge on the actions and behaviour of |
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myself - A female artist from Turkey - and of us - the un/under/misrepresented multitude. I believe this endeavour will unravel not only the history of Turkey but will shed a light on the processes of modernism under the influence of |
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major global actors(?).</span> |
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|
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<span id='ele'>Digging through my memory, I find myself in the Turquoise Impala of my grandfather, driving up the Kayseri mountain, hearing his voice chanting a poem out of the blue. Or suddenly I’m facing one of the spontaneous tests of |
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my other grand |
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father in Istanbul, asking me to name the tune of the Ottoman-Turkish music we are listening to. My personal memories are as scattered as the collective memory of our chaotic semi island, Anatolia. Yet if one wants to take a walk |
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towards |
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the roots of this land and it’s settlers, the tunes and poems will reveal them selves as the bread crumbs guiding the way.</span> |
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|
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<span> How does the cultural knowledge travel and transform in time? What forms does it take, why and how do they sustain their presence in our lives? Not only as an artist but as an individual in search of a better present and in |
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anticipation |
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and aspiration of a revolution, I try to answer these questions by investigating cultural production methods and develop an alternative reading of the common history.</span> |
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<span> Knowledge in its most delicate form was first contained in the minds of people who would live in small communities. The elders, the more experienced, would be the ones to teach/pass on the knowledge that they would carry along |
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their |
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lives. The inherited knowledge can be the secrets of crafts, food processing- like cheese or meat-, healing methods/recipes, rituals, requiems or stories on braveries, travels, battles and looses. All of these resources relate to |
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specific |
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figures in the societies and they</span> |
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</div> |
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</div> |
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</div> |
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</div> |
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</div> |
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</div> |
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|
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<script> |
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$("#angela").click(function() { |
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$("#show1").fadeIn() |
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console.log("around") |
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}); |
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|
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function scrolldiv() { |
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var elem = document.getElementById("ele"); |
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elem.scrollIntoView(); |
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} |
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|
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function play() { |
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var audio = document.getElementById("audio-1"); |
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audio.currentTime=12; |
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audio.play(); |
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} |
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// document.getElementById("audio-1").loop = true; |
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</script> |
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{% endblock %} |
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@ -1,25 +0,0 @@ |
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<!doctype html> |
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<html> |
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<head> |
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{% block head %} |
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<title>{% block title %}VVVW{% endblock %}</title> |
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<link rel="stylesheet" href="../static/css/style.css"> |
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<link rel="stylesheet" href="https://maxcdn.bootstrapcdn.com/bootstrap/4.0.0/css/bootstrap.min.css" integrity="sha384-Gn5384xqQ1aoWXA+058RXPxPg6fy4IWvTNh0E263XmFcJlSAwiGgFAW/dAiS6JXm" crossorigin="anonymous"> |
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<script src="https://d3js.org/d3.v3.min.js"></script> |
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</script> |
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{% endblock %} |
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</head> |
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<body> |
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<div class="container-fluid p-0"> |
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{% block body %} {% endblock %} |
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</div> |
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|
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<script type="text/javascript" src="../static/js/p5/p5.min.js"></script> |
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<script src="https://code.jquery.com/jquery-3.2.1.slim.min.js" integrity="sha384-KJ3o2DKtIkvYIK3UENzmM7KCkRr/rE9/Qpg6aAZGJwFDMVNA/GpGFF93hXpG5KkN" crossorigin="anonymous"></script> |
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<script src="https://cdnjs.cloudflare.com/ajax/libs/popper.js/1.12.9/umd/popper.min.js" integrity="sha384-ApNbgh9B+Y1QKtv3Rn7W3mgPxhU9K/ScQsAP7hUibX39j7fakFPskvXusvfa0b4Q" crossorigin="anonymous"></script> |
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<script src="https://maxcdn.bootstrapcdn.com/bootstrap/4.0.0/js/bootstrap.min.js" integrity="sha384-JZR6Spejh4U02d8jOt6vLEHfe/JQGiRRSQQxSfFWpi1MquVdAyjUar5+76PVCmYl" crossorigin="anonymous"></script> |
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<script src="../static/js/jquery-1.12.4.js"></script> |
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<script src="../static/js/jquery-ui.js"></script> |
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</body> |
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</html> |
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@ -1,105 +0,0 @@ |
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{% extends "base.html" %} |
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{% block title %}VVVW{% endblock %} |
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{% block body %} |
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<script src="https://ajax.googleapis.com/ajax/libs/jquery/3.5.1/jquery.min.js"></script> |
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<div class="bg"> |
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<div class="row"> |
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<div class="col-md-7"> |
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<div class="map_area"> |
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<script src="../static/js/d3_map.js"></script> |
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</div> |
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<div class="row"> |
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<div class="col-md-12"> |
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<p id="legend_title">Map legend</p> |
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|
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<div class="map_legend"> |
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<div class="box1"></div> <p>Folklore literature</p> |
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<div class="box2"></div> <p>Islamic Mysticism</p> |
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<div class="box3"></div> <p>Contemporary poets</p> |
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<div class="box4"></div> <p>Contemporary musicians</p> |
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</div> |
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</div> |
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</div> |
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</div> |
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<div class="col-md-5"> |
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<div class="scrollable"> |
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<div class="row"> |
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<div class="col-md-12"> |
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<div class="thesis"> |
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{% include 'thesis.html' %} |
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</div> |
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</div> |
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</div> |
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<div class="row"> |
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<div class="col-md-10"> |
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<div class="media_area"> |
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<!-- <p>Related media</p> --> |
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<div id="showdadaloglu"><div class='text_audio'>Bio</div> |
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<!-- <audio id="audiodadaloglu" controls> |
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<source src="../static/audio/HNI_Soundinstall_3tracks_together1.mp3" type="audio/mpeg"> |
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Your browser does not support the audio tag. |
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</audio> --> |
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<img src="../static/images/poem.png"> |
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</div> |
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<div id="showasikA"><div class='text_audio'>Bio Aşık Ali İzzet</div><iframe width="560" height="280" src="https://www.youtube.com/embed/AnsVY_gjJns" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div> |
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<div id="showasikV"><div class='text_audio'>Bio</div><iframe width="560" height="280" src="https://www.youtube.com/embed/5_9PAugYb4s" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> |
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<iframe width="560" height="280" src="https://www.youtube.com/embed/t64yH04XWs8" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> |
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</div> |
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|
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<div id="showmuharrem"><div class='text_audio'></div><iframe width="560" height="280" src="https://www.youtube.com/embed/Ffa2CONoW5Q" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div> |
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|
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<div id="shownazim"><div class='text_audio'></div><iframe width="560" height="280" src="https://www.youtube.com/embed/11XRG-cz3lY" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div> |
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|
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<div id="showneyzen"><div class='text_audio'></div><iframe width="560" height="280" src="https://www.youtube.com/embed/CD-CEeaLGdk" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div> |
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|
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<div id="showruhisu"><div class='text_audio'></div><iframe width="560" height="280" src="https://www.youtube.com/embed/fKOKxuFyEdg" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div> |
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|
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<div id="showasu"><div class='text_audio'></div><iframe width="560" height="280" src="https://www.youtube.com/embed/mETzamzufh4" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div> |
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|
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<!-- <img src="../static/images/test_small.jpeg" alt="poem"> --> |
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</div> |
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</div> |
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</div> |
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</div> |
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</div> |
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</div> |
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|
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<div class="row"> |
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<div class="col-md-12"> |
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<div class="play-stop"> |
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<div id="tracktime">0:0 / 22:39</div> |
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<a id="mBtn" onclick="PSFunction()">(Play)</a> |
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<button class="audio-button" onclick="document.getElementById('audioBG').volume -= 0.1">-</button> |
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<button class="audio-button" onclick="document.getElementById('audioBG').volume += 0.1">+</button> |
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</div> |
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<div class="main_audio"> |
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<audio id='audioBG' ontimeupdate="document.getElementById('tracktime').innerHTML = Math.floor(this.currentTime/60) + ':' + (Math.floor(this.currentTime) - Math.floor(this.currentTime/60)*60) + ' / ' + Math.floor(this.duration/60)+ ':' + (Math.floor(this.duration) - Math.floor(this.duration/60)*60);"> |
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<source src="../static/audio/FreshMythsDifferentTimes_performance_podcast1.mp3" type="audio/mpeg"> |
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Your browser does not support the audio tag. |
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</audio> |
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</div> |
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</div> |
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</div> |
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|
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</div> |
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<!-- scripts for mouse events --> |
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<script> |
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var audio = document.getElementById("audioBG"); |
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var btn = document.getElementById("mBtn"); |
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|
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function PSFunction() { |
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if (audio.paused) { |
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audio.play(); |
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btn.innerHTML = "(Pause)"; |
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} else { |
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audio.pause(); |
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btn.innerHTML = "(Play)"; |
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} |
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} |
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</script> |
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|
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{% endblock %} |
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@ -1,136 +0,0 @@ |
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{% extends "base.html" %} |
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{% block title %}Hello{% endblock %} |
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{% block body %} |
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<script src="https://ajax.googleapis.com/ajax/libs/jquery/3.5.1/jquery.min.js"></script> |
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<div class="row"> |
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<div class="col-md-9"> |
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|
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<div class="map_area"> |
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<div class="row"> |
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<div class="col-md-12"> |
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<div class="container-fluid" id="map_div"> |
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<svg> |
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<path class='p1'></path> |
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<path class='p2'></path> |
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|
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</svg> |
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<p class='c1'>Dadaloglu</b> |
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<p class='c2'>Muharrem Ertas</b> |
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<p class='c3'>Asik Veysel</p> |
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</div> |
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</div> |
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</div> |
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</div> |
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<div class="col-md-9"> |
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<audio id='audio-1' controls> |
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<source src="../static/audio/HNI_Soundinstall_3tracks_together1.mp3" type="audio/mpeg"> |
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Your browser does not support the audio tag. |
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</audio> |
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</div> |
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</div> |
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<div class="col-md-3"> |
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<div class="row"> |
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<div class="col-md-10"> |
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<div class="image_area"> |
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<p>image</p> |
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<div id="show1"><audio controls> |
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<source src="../static/audio/HNI_Soundinstall_3tracks_together1.mp3" type="audio/mpeg"> |
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Your browser does not support the audio tag. |
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</audio></div> |
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<img src="../static/images/test_small.jpeg" alt="poem"> |
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</div> |
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</div> |
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</div> |
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|
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<div class="row"> |
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<div class="col-md-10"> |
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<div class="iframe_area"> |
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<p>iframe area</p> |
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<!-- <iframe src="../static/images/abstract.pdf" width="300px" height="500px"></iframe> --> |
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|
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<div class="thesis"> |
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<span>People since the beginning have been gathering around certain sources of knowledge creating a specific reading/understanding of the world around them. Accumulated from different sources, what is inherited shapes the minds of |
|||
individuals, |
|||
communities and societies. Often times the cultural productions that happen in reverberance to these processes guide the researchers as they become an archive - a memory space for collective affects of former and contemporary societies. |
|||
Aware of my lack of knowledge on all the processes of inheriting from my own history; geographically, ethnically and politically, I attempt to understand the effects of the accumulated sets of knowledge on the actions and behaviour of |
|||
myself - A female artist from Turkey - and of us - the un/under/misrepresented multitude. I believe this endeavour will unravel not only the history of Turkey but will shed a light on the processes of modernism under the influence of |
|||
major global actors(?).</span> |
|||
|
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<span id='ele'>Digging through my memory, I find myself in the Turquoise Impala of my grandfather, driving up the Kayseri mountain, hearing his voice chanting a poem out of the blue. Or suddenly I’m facing one of the spontaneous tests of |
|||
my other grand |
|||
father in Istanbul, asking me to name the tune of the Ottoman-Turkish music we are listening to. My personal memories are as scattered as the collective memory of our chaotic semi island, Anatolia. Yet if one wants to take a walk |
|||
towards |
|||
the roots of this land and it’s settlers, the tunes and poems will reveal them selves as the bread crumbs guiding the way.</span> |
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|
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<span> How does the cultural knowledge travel and transform in time? What forms does it take, why and how do they sustain their presence in our lives? Not only as an artist but as an individual in search of a better present and in |
|||
anticipation |
|||
and aspiration of a revolution, I try to answer these questions by investigating cultural production methods and develop an alternative reading of the common history.</span> |
|||
<span> Knowledge in its most delicate form was first contained in the minds of people who would live in small communities. The elders, the more experienced, would be the ones to teach/pass on the knowledge that they would carry along |
|||
their |
|||
lives. The inherited knowledge can be the secrets of crafts, food processing- like cheese or meat-, healing methods/recipes, rituals, requiems or stories on braveries, travels, battles and looses. All of these resources relate to |
|||
specific |
|||
figures in the societies and they</span> |
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</div> |
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</div> |
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</div> |
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</div> |
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</div> |
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</div> |
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<script> |
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$("#angela").click(function() { |
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$("#show1").fadeIn() |
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console.log("around") |
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}); |
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|
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function scrolldiv() { |
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var elem = document.getElementById("ele"); |
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elem.scrollIntoView(); |
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} |
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|
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function play() { |
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var audio = document.getElementById("audio-1"); |
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audio.currentTime=12; |
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audio.play(); |
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} |
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|
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var path1 = document.querySelector(".p1"), |
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path2 = document.querySelector(".p2"); |
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|
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var c1 = document.querySelector(".c1"), |
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c1Pos = getPointPos(c1), |
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c2 = document.querySelector(".c2"), |
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c2Pos = getPointPos(c2), |
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c3 = document.querySelector(".c3"), |
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c3Pos = getPointPos(c3); |
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|
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function getPointPos(point){ |
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var pos = $(point).position(); |
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pos.left += point.clientWidth/2; |
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return pos; |
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} |
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path1.setAttribute('d', createLine([c1Pos.left, c1Pos.top], [c2Pos.left, c2Pos.top])); |
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path2.setAttribute('d', createLine([c3Pos.left, c3Pos.top], [c2Pos.left, c2Pos.top])); |
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|
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function createLine(source, target){ |
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var dx = target[0] - source[0], |
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dy = target[1] - source[1], |
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dr = Math.sqrt(dx * dx + dy * dy)/1.5; |
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return "M" + |
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source[0] + "," + |
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source[1] + "A" + |
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dr + "," + dr + " 0 0,1 " + |
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target[0] + "," + |
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target[1]; |
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} |
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// document.getElementById("audio-1").loop = true; |
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</script> |
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{% endblock %} |
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/* Everything*/ |
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@import url('https://fonts.googleapis.com/css2?family=Quicksand:wght@300&family=Source+Sans+Pro:wght@300&display=swap'); |
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@import url('https://fonts.googleapis.com/css2?family=Harmattan&display=swap'); |
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@import url('https://fonts.googleapis.com/css2?family=Asul&display=swap'); |
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@import url('https://fonts.googleapis.com/css2?family=Walter+Turncoat&display=swap'); |
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* { |
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border: 0px black solid; |
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} |
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|
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body { |
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overflow: scroll; |
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font-size: .8em; |
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} |
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|
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.container-fluid { |
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overflow: hidden; |
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} |
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|
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.bg { |
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height: 100%; |
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width: 100%; |
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} |
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.bg::before { |
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content: ""; |
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background-image: url("/static/images/poster1.png"); |
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background-repeat: no-repeat; |
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background-size: cover; |
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background-position: center; |
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position: absolute; |
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top: 0px; |
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right: 0px; |
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bottom: 0px; |
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left: 0px; |
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opacity: 0.4; |
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filter: blur(20px); |
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opacity: |
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} |
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/*Main areas*/ |
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.map_area { |
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text-align: center; |
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/* margin-top: 20px; */ |
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/* margin-bottom: 20px; */ |
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margin-right: 10px; |
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margin-left: 20px; |
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position: relative; |
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} |
|||
.media_area { |
|||
margin-top: 10px; |
|||
padding-right: 20px; |
|||
height:100%; |
|||
} |
|||
|
|||
.media_area img { |
|||
width: 400px; |
|||
} |
|||
|
|||
|
|||
.node text { |
|||
pointer-events: none; |
|||
|
|||
} |
|||
|
|||
/* Audio in background */ |
|||
.audio-button { |
|||
background: transparent; |
|||
color:inherit; |
|||
} |
|||
|
|||
.audio-button:hover { |
|||
background: grey; |
|||
cursor: pointer; |
|||
} |
|||
|
|||
.main_audio { |
|||
position: relative; |
|||
} |
|||
|
|||
|
|||
|
|||
/* Node styling */ |
|||
|
|||
.group2 { |
|||
fill: #ffbc42; |
|||
font-size: 20px; |
|||
font-family: 'Vesper Libre', serif; |
|||
z-index: 2; |
|||
} |
|||
|
|||
|
|||
|
|||
.group1 { |
|||
fill: #d81159; |
|||
font-size: 20px; |
|||
font-family: 'Vesper Libre', serif; |
|||
z-index: 1; |
|||
} |
|||
|
|||
.group4 { |
|||
fill: #73d2de; |
|||
font-family: 'Vesper Libre', serif; |
|||
font-size: 20px; |
|||
z-index: 4; |
|||
|
|||
} |
|||
|
|||
.group3 { |
|||
fill: #218380; |
|||
font-family: 'Vesper Libre', serif; |
|||
font-size: 20px; |
|||
z-index: 3; |
|||
} |
|||
|
|||
svg{ |
|||
width:100%; |
|||
height:100%; |
|||
margin-left: 30px; |
|||
margin-top: 10px; |
|||
z-index: 1; |
|||
position: relative; |
|||
} |
|||
path{ |
|||
fill: transparent; |
|||
stroke: #000; |
|||
stroke-dasharray:6px; |
|||
} |
|||
|
|||
#map_div{ |
|||
position:absolute; |
|||
top:20px; |
|||
left:0; |
|||
right:0; |
|||
margin:auto; |
|||
height:500px; |
|||
width:700px; |
|||
} |
|||
a { |
|||
text-decoration: none; |
|||
color: #218380; |
|||
} |
|||
/* map legend */ |
|||
|
|||
#box1 { |
|||
height: 15px; |
|||
width: 15px; |
|||
margin-left : 10px; |
|||
margin-top: 10px; |
|||
display: inline-block; |
|||
background-color: #d81159; |
|||
} |
|||
|
|||
#box2 { |
|||
height: 15px; |
|||
width: 15px; |
|||
margin-left : 10px; |
|||
margin-top: 10px; |
|||
background-color: #ffbc42; |
|||
display: inline-block; |
|||
|
|||
} |
|||
|
|||
#box3 { |
|||
height: 15px; |
|||
width: 15px; |
|||
margin-left : 10px; |
|||
margin-top: 10px; |
|||
background-color: #218380; |
|||
display: inline-block; |
|||
|
|||
} |
|||
|
|||
#box4 { |
|||
height: 15px; |
|||
width: 15px; |
|||
margin-left : 10px; |
|||
margin-top: 10px; |
|||
display: inline-block; |
|||
background-color: #73d2de; |
|||
} |
|||
|
|||
#box1:hover { |
|||
cursor: pointer; |
|||
} |
|||
|
|||
#box2:hover { |
|||
cursor: pointer; |
|||
} |
|||
|
|||
#box3:hover { |
|||
cursor: pointer; |
|||
} |
|||
|
|||
#box4:hover { |
|||
cursor: pointer; |
|||
} |
|||
|
|||
.map_legend p { |
|||
padding-left: 5px; |
|||
font-family: 'Vesper Libre', serif; |
|||
display: inline; |
|||
font-size: .6em; |
|||
} |
|||
|
|||
#legend_title { |
|||
font-family: 'Vesper Libre', serif; |
|||
font-size: 1em; |
|||
padding-left: 2em; |
|||
position: relative; |
|||
margin-top: 1em; |
|||
} |
|||
|
|||
/* text area */ |
|||
/* with position:fixed and svg {position:relative} the text can overlay the map */ |
|||
.thesis { |
|||
text-align: left !important; |
|||
display: none; |
|||
overflow-y: scroll; |
|||
max-height: 300px; |
|||
max-width: 30%; |
|||
scroll-behavior: smooth; |
|||
font-size: .9em; |
|||
border: 1px black solid; |
|||
padding: 1.5em; |
|||
margin-right: 10px; |
|||
margin-top: 20px; |
|||
line-height: 1.6em; |
|||
font-family: 'Vesper Libre', serif; |
|||
scrollbar-color: #d87fa0 #dbf6f9; |
|||
position: relative; |
|||
z-index:4; |
|||
background: transparent; |
|||
left: 2px; |
|||
top: 10%; |
|||
opacity: 0.2; |
|||
} |
|||
|
|||
.thesis:hover { |
|||
opacity: 1; |
|||
background-color: white; |
|||
} |
|||
|
|||
.scaleable-wrapper { |
|||
padding: 0.8%; |
|||
padding-bottom: 0.8%; |
|||
resize: both; |
|||
position: relative; |
|||
} |
|||
|
|||
/* #resizable { |
|||
|
|||
} */ |
|||
|
|||
.ui-resizable-se { |
|||
width: 10px; |
|||
height: 10px; |
|||
position: absolute; |
|||
bottom: 0; |
|||
right: 0; |
|||
} |
|||
|
|||
.scrollable { |
|||
overflow-y: scroll; |
|||
scroll-behavior: smooth; |
|||
overflow: hidden; |
|||
|
|||
} |
|||
|
|||
h1 { |
|||
font-size: 1.4em !important; |
|||
} |
|||
|
|||
h2 { |
|||
font-size: 1.2em !important; |
|||
} |
|||
|
|||
/* background audio */ |
|||
|
|||
|
|||
.play-stop { |
|||
/* position: absolute; */ |
|||
/* bottom: 1em; */ |
|||
z-index: 1; |
|||
padding-left: 2em; |
|||
/* margin-left: calc( 50% - 1.8em ); |
|||
margin-top: 5em; */ |
|||
overflow: hidden; |
|||
font-size: .8em; |
|||
font-weight: bold; |
|||
font-family:'Walter Turncoat', cursive; |
|||
color: #AEB10A; |
|||
cursor: pointer; |
|||
} |
|||
|
|||
.play-stop:hover { |
|||
color: #cdcec9; |
|||
} |
|||
|
|||
/* circles */ |
|||
|
|||
#first_circle { |
|||
width: 100%; |
|||
height: 100%; |
|||
} |
|||
|
|||
#second_circle { |
|||
width: 100%; |
|||
height: 100%; |
|||
} |
|||
|
|||
@media all and (max-width: 350px) { |
|||
|
|||
} |
|||
.draggable { |
|||
position: absolute; |
|||
/* cursor: all-scroll; */ |
|||
} |
|||
|
|||
/* .scaleable-wrapper { |
|||
resize: both; |
|||
overflow: auto; |
|||
position:relative; |
|||
} */ |
|||
|
|||
|
|||
|
|||
.draggable iframe { |
|||
padding: 1em; |
|||
} |
|||
|
|||
#transcriptWrapper { |
|||
overflow: hidden; |
|||
} |
|||
|
|||
#transcript > div { |
|||
transition: all 0.8s ease; |
|||
list-style-type: disc; |
|||
} |
|||
|
|||
.speaking { |
|||
font-weight: bold; |
|||
} |
|||
|
|||
|
|||
|
|||
|
|||
/* pop up */ |
|||
#showvideo { |
|||
/* display: none; */ |
|||
right: 6%; |
|||
top:10%; |
|||
padding: 0.5%; |
|||
background-color: transparent; |
|||
position: absolute; |
|||
z-index: 5; |
|||
border: 1px black solid; |
|||
opacity: 0.2; |
|||
|
|||
} |
|||
|
|||
#showvideo:hover { |
|||
opacity: 1; |
|||
} |
|||
|
|||
#showbio { |
|||
/* display: none; */ |
|||
right: 10%; |
|||
top:70%; |
|||
left: 70%; |
|||
bottom: 10%; |
|||
padding: 2%; |
|||
background-color: transparent; |
|||
position: absolute; |
|||
z-index: 5; |
|||
border: 1px black solid; |
|||
overflow-y: scroll; |
|||
scroll-behavior: smooth; |
|||
max-height: 300px; |
|||
max-width: 700px; |
|||
scrollbar-color: #d87fa0 #dbf6f9; |
|||
opacity: 0.2; |
|||
|
|||
} |
|||
|
|||
#showbio:hover { |
|||
background-color: white; |
|||
opacity: 1; |
|||
} |
|||
|
|||
/* .bio{ |
|||
margin-bottom: 1.2em; |
|||
margin-top: 2em; |
|||
font-family:'Vesper Libre', serif; |
|||
font-size: .8em; |
|||
padding-left: 1em; |
|||
z-index: 5; |
|||
background-color: white; |
|||
border:1px black solid; |
|||
} */ |
|||
|
|||
/* Style the close button */ |
|||
.topleft { |
|||
float: right; |
|||
cursor: pointer; |
|||
font-size: 100%; |
|||
color: black; |
|||
} |
|||
|
|||
#thesisX { |
|||
position: absolute; |
|||
z-index:5; |
|||
left: 480px; |
|||
top: 14%; |
|||
display: none; |
|||
} |
|||
|
|||
|
|||
/* about and colophon */ |
|||
#about, #colophon { |
|||
font-family:'Walter Turncoat', cursive; |
|||
color: #AEB10A; |
|||
} |
|||
|
|||
#about a { |
|||
text-decoration: none; |
|||
color: #AEB10A; |
|||
} |
|||
|
|||
#colophon a { |
|||
text-decoration: none; |
|||
color: #AEB10A; |
|||
} |
|||
|
|||
#showabout, #showcolophon { |
|||
display: none; |
|||
/* background-image: url("../images/poster1.png"); */ |
|||
background-color: white; |
|||
word-wrap: break-word; |
|||
background-size: 100%; |
|||
width: 50%; |
|||
height: auto; |
|||
border: 1px solid black; |
|||
padding: 2%; |
|||
z-index: 5; |
|||
} |
|||
|
|||
#showcolophon { |
|||
left: 30%; |
|||
top:10%; |
|||
} |
|||
|
|||
#showabout { |
|||
left: 20%; |
|||
} |
|||
|
|||
|
|||
|
|||
/*d3 map*/ |
|||
.link { |
|||
stroke: #c46666; |
|||
} |
|||
|
|||
.node text { |
|||
pointer-events: none; |
|||
font: 1em sans-serif; |
|||
} |
|||
|
|||
.active { |
|||
background-color: RGBA(190,219,187, 0.6); |
|||
display: inline; |
|||
/* box-shadow: 5px 0 0px 0px #bedbbb, -5px 0 0px 0px #bedbbb; */ |
|||
} |
|||
@ -1,43 +0,0 @@ |
|||
Copyright (c) 2007, Robert Keller (www.motaitalic.com) |
|||
|
|||
This Font Software is licensed under the SIL Open Font License, Version 1.1. |
|||
This license is copied below, and is also available with a FAQ at: http://scripts.sil.org/OFL |
|||
|
|||
----------------------------------------------------------- |
|||
SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 |
|||
----------------------------------------------------------- |
|||
|
|||
PREAMBLE |
|||
The goals of the Open Font License (OFL) are to stimulate worldwide development of collaborative font projects, to support the font creation efforts of academic and linguistic communities, and to provide a free and open framework in which fonts may be shared and improved in partnership with others. |
|||
|
|||
The OFL allows the licensed fonts to be used, studied, modified and redistributed freely as long as they are not sold by themselves. The fonts, including any derivative works, can be bundled, embedded, redistributed and/or sold with any software provided that any reserved names are not used by derivative works. The fonts and derivatives, however, cannot be released under any other type of license. The requirement for fonts to remain under this license does not apply to any document created using the fonts or their derivatives. |
|||
|
|||
DEFINITIONS |
|||
"Font Software" refers to the set of files released by the Copyright Holder(s) under this license and clearly marked as such. This may include source files, build scripts and documentation. |
|||
|
|||
"Reserved Font Name" refers to any names specified as such after the copyright statement(s). |
|||
|
|||
"Original Version" refers to the collection of Font Software components as distributed by the Copyright Holder(s). |
|||
|
|||
"Modified Version" refers to any derivative made by adding to, deleting, or substituting -- in part or in whole -- any of the components of the Original Version, by changing formats or by porting the Font Software to a new environment. |
|||
|
|||
"Author" refers to any designer, engineer, programmer, technical writer or other person who contributed to the Font Software. |
|||
|
|||
PERMISSION & CONDITIONS |
|||
Permission is hereby granted, free of charge, to any person obtaining a copy of the Font Software, to use, study, copy, merge, embed, modify, redistribute, and sell modified and unmodified copies of the Font Software, subject to the following conditions: |
|||
|
|||
1) Neither the Font Software nor any of its individual components, in Original or Modified Versions, may be sold by itself. |
|||
|
|||
2) Original or Modified Versions of the Font Software may be bundled, redistributed and/or sold with any software, provided that each copy contains the above copyright notice and this license. These can be included either as stand-alone text files, human-readable headers or in the appropriate machine-readable metadata fields within text or binary files as long as those fields can be easily viewed by the user. |
|||
|
|||
3) No Modified Version of the Font Software may use the Reserved Font Name(s) unless explicit written permission is granted by the corresponding Copyright Holder. This restriction only applies to the primary font name as presented to the users. |
|||
|
|||
4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font Software shall not be used to promote, endorse or advertise any Modified Version, except to acknowledge the contribution(s) of the Copyright Holder(s) and the Author(s) or with their explicit written permission. |
|||
|
|||
5) The Font Software, modified or unmodified, in part or in whole, must be distributed entirely under this license, and must not be distributed under any other license. The requirement for fonts to remain under this license does not apply to any document created using the Font Software. |
|||
|
|||
TERMINATION |
|||
This license becomes null and void if any of the above conditions are not met. |
|||
|
|||
DISCLAIMER |
|||
THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM OTHER DEALINGS IN THE FONT SOFTWARE. |
|||
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|
Before Width: | Height: | Size: 3.1 MiB |
|
Before Width: | Height: | Size: 2.6 MiB |
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|
Before Width: | Height: | Size: 2.1 MiB |
|
Before Width: | Height: | Size: 6.4 MiB |
|
Before Width: | Height: | Size: 5.7 MiB |
|
Before Width: | Height: | Size: 478 KiB |
|
Before Width: | Height: | Size: 16 KiB |
|
Before Width: | Height: | Size: 46 KiB |
|
Before Width: | Height: | Size: 7.1 MiB |
|
Before Width: | Height: | Size: 200 KiB |
|
Before Width: | Height: | Size: 871 B |
|
Before Width: | Height: | Size: 295 KiB |
|
Before Width: | Height: | Size: 2.0 MiB |
|
Before Width: | Height: | Size: 1.3 KiB |
|
Before Width: | Height: | Size: 1.3 KiB |
|
Before Width: | Height: | Size: 4.4 MiB |
|
Before Width: | Height: | Size: 3.4 MiB |
|
Before Width: | Height: | Size: 1.9 MiB |
|
Before Width: | Height: | Size: 2.2 MiB |
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File diff suppressed because one or more lines are too long
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@ -1,272 +0,0 @@ |
|||
var width = 700, |
|||
height = 350 |
|||
|
|||
var svg = d3.select(".map_area").append("svg") |
|||
.attr("width", width) |
|||
.attr("height", height) |
|||
.attr("viewBox", `${-width/1.7} ${-height/1.6} ${width*2.3} ${height*2.2}`); |
|||
|
|||
var force = d3.layout.force() |
|||
.gravity(0.009) |
|||
.distance(500) |
|||
.charge(-30) |
|||
.size([width, height]); |
|||
|
|||
|
|||
d3.json("/static/js/group1.json", function(error, json) { |
|||
if (error) throw error; |
|||
|
|||
force |
|||
.nodes(json.nodes) |
|||
.links(json.links) |
|||
.start(); |
|||
|
|||
var link = svg.selectAll(".link") |
|||
.data(json.links) |
|||
.enter().append("line") |
|||
.attr("class", "link"); |
|||
|
|||
|
|||
var node = svg.selectAll(".node") |
|||
.data(json.nodes) |
|||
.enter().append("g") |
|||
.attr("class", function(d){return "node group" + d.group}) |
|||
.attr("id", function(d){return d.id}); |
|||
|
|||
node.append("image") |
|||
// .attr("xlink:href", "/static/images/squig2.png")
|
|||
.attr("xlink:href", "/static/images/circleB.png") |
|||
.attr("x", -8) |
|||
.attr("y", -8) |
|||
.attr("width", 16) |
|||
.attr("height", 16); |
|||
|
|||
node.append("text") |
|||
// .attr("xlink:href", "#")
|
|||
.attr("dx", 12) |
|||
.attr("dy", ".35em") |
|||
.text(function(d) { return d.name }); |
|||
|
|||
|
|||
var divVideo = d3.select("body").append("div").style("opacity", 1); |
|||
var divBio = d3.select("body").append("div").style("opacity", 1); |
|||
|
|||
|
|||
|
|||
node.on({ |
|||
"mouseover": function(d) { |
|||
d3.select(this).style("cursor", "pointer"); |
|||
}}) |
|||
.on("click", function(i){ |
|||
// popup video
|
|||
divVideo.transition().duration(100); |
|||
divVideo.html("<div id='showvideo'><span onclick=this.parentElement.style.display='none';pauseAllVideos("+i.id+"); class='topleft'> × </span><iframe id='video"+i.id+"' width='300' height='150' src='"+i.url+"' frameborder='0' allow='accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture' allowfullscreen></iframe></div>"); |
|||
divBio.transition().duration(100); |
|||
divBio.html("<div id='showbio'><span onclick=this.parentElement.style.display='none' class='topleft'> × </span><div id='bio"+i.id+"'>"+i.bio+"</div>"); |
|||
// draggable
|
|||
|
|||
|
|||
// div.on(".drag", null);
|
|||
// span.html("<span onclick='this.parentElement.style.display='none'' class='topleft'>×</span>");
|
|||
// rest pop up
|
|||
popup(i.id,i.time); |
|||
}) |
|||
.on("dblclick",connectedNodes) |
|||
.call(force.drag); |
|||
|
|||
|
|||
|
|||
force.on("tick", function() { |
|||
link.attr("x1", function(d) { return d.source.x; }) |
|||
.attr("y1", function(d) { return d.source.y; }) |
|||
.attr("x2", function(d) { return d.target.x; }) |
|||
.attr("y2", function(d) { return d.target.y; }); |
|||
|
|||
node.attr("transform", function(d) { return "translate(" + d.x + "," + d.y + ")"; }); |
|||
|
|||
}); |
|||
|
|||
|
|||
|
|||
|
|||
// under construction
|
|||
// d3.select("body").on("click",function(i){
|
|||
// stop(i.id);
|
|||
// });
|
|||
|
|||
// highlight NodeLists//Toggle stores whether the highlighting is on
|
|||
var toggle = 0; |
|||
//Create an array logging what is connected to what
|
|||
var linkedByIndex = {}; |
|||
for (i = 0; i < json.nodes.length; i++) { |
|||
linkedByIndex[i + "," + i] = 1; |
|||
}; |
|||
json.links.forEach(function (d) { |
|||
linkedByIndex[d.source.index + "," + d.target.index] = 1; |
|||
}); |
|||
//This function looks up whether a pair are neighbours
|
|||
function neighboring(a, b) { |
|||
return linkedByIndex[a.index + "," + b.index]; |
|||
} |
|||
function connectedNodes() { |
|||
if (toggle == 0) { |
|||
//Reduce the opacity of all but the neighbouring nodes
|
|||
d = d3.select(this).node().__data__; |
|||
node.style("opacity", function (o) { |
|||
return neighboring(d, o) | neighboring(o, d) ? 1 : 0.1; |
|||
}); |
|||
link.style("opacity", function (o) { |
|||
return d.index==o.source.index | d.index==o.target.index ? 1 : 0.1; |
|||
}); |
|||
//Reduce the op
|
|||
toggle = 1; |
|||
} else { |
|||
//Put them back to opacity=1
|
|||
node.style("opacity", 1); |
|||
link.style("opacity", 1); |
|||
toggle = 0; |
|||
} |
|||
} |
|||
//end highlight nodes
|
|||
|
|||
|
|||
|
|||
|
|||
// no overlapping
|
|||
|
|||
//var padding = 10, // separation between circles
|
|||
// radius=8;
|
|||
//function collide(alpha) {
|
|||
// var quadtree = d3.geom.quadtree(<.nodes);
|
|||
// return function(d) {
|
|||
// var rb = 2*radius + padding,
|
|||
// nx1 = d.x - rb,
|
|||
// nx2 = d.x + rb,
|
|||
// ny1 = d.y - rb,
|
|||
// ny2 = d.y + rb;
|
|||
// quadtree.visit(function(quad, x1, y1, x2, y2) {
|
|||
// if (quad.point && (quad.point !== d)) {
|
|||
// var x = d.x - quad.point.x,
|
|||
// y = d.y - quad.point.y,
|
|||
// l = Math.sqrt(x * x + y * y);
|
|||
// if (l < rb) {
|
|||
// l = (l - rb) / l * alpha;
|
|||
// d.x -= x *= l;
|
|||
// d.y -= y *= l;
|
|||
// quad.point.x += x;
|
|||
// quad.point.y += y;
|
|||
// }
|
|||
// }
|
|||
// return x1 > nx2 || x2 < nx1 || y1 > ny2 || y2 < ny1;
|
|||
// });
|
|||
// };
|
|||
//}
|
|||
|
|||
// scripts for mouse events
|
|||
// var stopVideo = function (name) {
|
|||
// function stopVideo(name) {
|
|||
// var iframe = document.querySelector( 'iframe');
|
|||
// var video = document.getElementById( "#video"+name );
|
|||
// if ( iframe !== null ) {
|
|||
// var iframeSrc = iframe.src;
|
|||
// iframe.src = iframeSrc;
|
|||
// }
|
|||
// if ( video !== null ) {
|
|||
// video.pause();
|
|||
// }
|
|||
// };
|
|||
|
|||
// $(function (){
|
|||
// $('.topleft').click(function(){
|
|||
// $('iframe').attr('src', $('iframe').attr('src'));
|
|||
// });
|
|||
// });
|
|||
|
|||
|
|||
// function pauseAllVideos(name)
|
|||
// {
|
|||
// $("#video"+name).each(function(){
|
|||
// this.contentWindow.postMessage('{"event":"command","func":"stopVideo","args":""}', '*')
|
|||
// });
|
|||
// }
|
|||
|
|||
function pauseAllVideos(name) { |
|||
$("video"+name).each(function(){ |
|||
$(this).stopVideo(); |
|||
}); |
|||
}; |
|||
|
|||
// $(function (){
|
|||
// $('.topleft').click(function(){
|
|||
// $('iframe').attr('src', $('iframe').attr('src'));
|
|||
// });
|
|||
// });
|
|||
|
|||
function popup(name,time) { |
|||
$("#show"+name).fadeIn() |
|||
console.log("around") |
|||
$("#thesis").fadeIn() |
|||
$("#thesisX").fadeIn() |
|||
$("#bio"+name).fadeIn() |
|||
var dada = document.getElementById("text"+name); |
|||
dada.className += " active"; |
|||
dada.scrollIntoView(); |
|||
// var audio1 = document.getElementById("audioBG");
|
|||
// audio1.currentTime = time;
|
|||
// audio1.play();
|
|||
}; |
|||
|
|||
|
|||
|
|||
//stop events when clicking somewhere else
|
|||
// $(document).click(function (e) {
|
|||
// if (!$(e.target).parents().andSelf().is('#dadaloglu')) {
|
|||
// $("#showdadaloglu").fadeOut();
|
|||
// $("#audiodadaloglu").trigger('pause');
|
|||
// // var textdada = document.getElementById("textdadaloglu");
|
|||
// // textdada.classList.remove("active");
|
|||
// };
|
|||
// if (!$(e.target).parents().andSelf().is('#asikA')) {
|
|||
// $("#showasikA").fadeOut();
|
|||
// $("#audioasikA").trigger('pause');
|
|||
// // var textasikA = document.getElementById("textasikA");
|
|||
// // textasikA.classList.remove("active");
|
|||
// stopVideo("#asikA");
|
|||
// };
|
|||
//
|
|||
// });
|
|||
|
|||
// $(document).click(function (e) {
|
|||
// if (!$(e.target).parents().andSelf().is('#dadaloglu')) {
|
|||
// $("#showdadaloglu").fadeOut();
|
|||
// $("#audiodadaloglu").trigger('pause');
|
|||
// // var textdada = document.getElementById("textdadaloglu");
|
|||
// // textdada.classList.remove("active");
|
|||
// };
|
|||
// if (!$(e.target).parents().andSelf().is('#asikA')) {
|
|||
// $("#showasikA").fadeOut();
|
|||
// $("#audioasikA").trigger('pause');
|
|||
// // var textasikA = document.getElementById("textasikA");
|
|||
// // textasikA.classList.remove("active");
|
|||
// stopVideo("#asikA");
|
|||
// };
|
|||
//
|
|||
// });
|
|||
|
|||
|
|||
|
|||
}); |
|||
|
|||
// function stop(name) {
|
|||
// $(document).click(function (e) {
|
|||
// if (!$(e.target).parents().andSelf().is('#'+ name)) {
|
|||
// $("#show"+name).fadeOut();
|
|||
// $("#audio"+name).trigger('pause');
|
|||
// var textdada = document.getElementById("text"+name);
|
|||
// textdada.classList.remove("active");
|
|||
// };
|
|||
// });
|
|||
// };
|
|||
|
|||
//
|
|||
//
|
|||
@ -1,67 +0,0 @@ |
|||
// draggable
|
|||
|
|||
|
|||
|
|||
|
|||
|
|||
$(document).ready(function() { |
|||
var a = 3; |
|||
var dragOpts = { |
|||
cursor: "move", |
|||
cursor: "grab", |
|||
// axis: "y",
|
|||
distance: "0", |
|||
// cursorAt: {
|
|||
// top: 0,
|
|||
// left: 0
|
|||
// }
|
|||
}; |
|||
$('.draggable').draggable( |
|||
{ |
|||
start: function(event, ui) { $(this).css("z-index", a++); } |
|||
}); |
|||
|
|||
|
|||
|
|||
// // font size relative to div draggable/resizable size
|
|||
// var $wrapper = $(".scaleable-wrapper");
|
|||
// $wrapper.each(function (d) {
|
|||
// var $this = $(this);
|
|||
// // var elHeight = $this.outerHeight();
|
|||
// var elWidth = $this.outerWidth();
|
|||
//
|
|||
// $this.resizable({
|
|||
// resize: doResize
|
|||
// });
|
|||
//
|
|||
// function doResize(event, ui) {
|
|||
//
|
|||
// var scale, origin;
|
|||
//
|
|||
// scale = Math.min(
|
|||
// // ui.size.height / elHeight,
|
|||
// ui.size.width / elWidth
|
|||
// );
|
|||
// // scale=1.0;
|
|||
// // scale=2*scale
|
|||
//
|
|||
// $this.css({
|
|||
// // transform: "translate(-50%, -50%) " + "scale(" + scale + ")"
|
|||
// transform: "translate(0%, 0%) " + "scale(" + scale + ")"
|
|||
//
|
|||
// });
|
|||
//
|
|||
// }
|
|||
//
|
|||
// var starterData = {
|
|||
// size: {
|
|||
// // height: $this.height(),
|
|||
// width: $this.width()
|
|||
// }
|
|||
// }
|
|||
// // console.log("starterData", starterData, this);
|
|||
// doResize(null, starterData);
|
|||
//
|
|||
//
|
|||
// });
|
|||
}); |
|||
@ -1,708 +0,0 @@ |
|||
{ |
|||
"nodes": [{ |
|||
"name": "Dadaloğlu", |
|||
"group": 1, |
|||
"id": "dadaloglu", |
|||
"time": 1, |
|||
"bio": "Dadaloğlu was a minstrel folk poet (est. 1785-1868) with Afshar Turkmen origins. Afshar is one of the nomadic Oghuz tribes that moved from Central Asia to Eastern Turkey. Under the rule of Ottoman Empire, Afshar people were relocated to the South-East of Anatolia to maintain the majority of people as Turkic in the region and keep rebellious tribes from different ethnic roots under control. Dadaloğlu is famous for voicing the discontent of Afshar people who were forced to leave their homes regarding these policies of the Ottoman Empire.", |
|||
"url": "https://www.youtube.com/embed/AP4vx1BPbYY" |
|||
}, |
|||
{ |
|||
"name": "Dedekorkut", |
|||
"group": 1, |
|||
"id": "dedekorkut", |
|||
"time": 1, |
|||
"bio": "The Book of Dede Korkut or Korkut Ata is a heroic dastan(legend) of the Oghuz Turks dating back to the 6th century BCE. The stories reflect the social lifestyle of the nomadic Turkic peoples when they followed shamanic beliefs. In the stories Dede Korkut appears as the respected elder, the sage and is believed to be a real person by some of the historians. The epics were orally told and transferred over the generations by Ashiks. Only after Turks converted to Islam the twelve stories were written down and many shamanic references were altered or abandoned.", |
|||
"url": "https://www.youtube.com/embed/AnsVY_gjJns" |
|||
}, |
|||
{ |
|||
"name": "Kul Nesimi", |
|||
"group": 1, |
|||
"id": "asikN", |
|||
"time": 1, |
|||
"bio": "Kul Nesimi was an ashik who lived in 17th century and was a dervish of the Bektash-i sufi lodge. He was inspired greatly from Yunus Emre and like Pir Sultan, he was the supporter of Persian Shah against the Ottoman Empire.", |
|||
"url": "https://www.youtube.com/embed/VmS87Swhcdk" |
|||
}, |
|||
{ |
|||
"name": "Aşık Ali İzzet", |
|||
"group": 1, |
|||
"id": "asikA", |
|||
"time": 1, |
|||
"bio": "Ashik Ali İzzet (1902-1981) was an Alevi folk poet who moved to the capital from Sivas in 1940’s. His poems gets published, starts performing in folk community centers and teaching cura instrument with Ashik Veysel. He gets sentenced several times for being involved in communist propaganda. He was also a strong follower of the Bekhtas-i longe and traveled to Alevi villages visiting ‘cem’ gathering houses.", |
|||
"url": "https://www.youtube.com/embed/opunkzOcGS4" |
|||
}, |
|||
{ |
|||
"name": "Aşık Mazhuni Şerif", |
|||
"group": 1, |
|||
"id": "asikM", |
|||
"time": 1, |
|||
"bio": "Aşık Mahzuni Şerif (1939-2002) was one of the most famous Alevi folk poet who expressed his political views with his poetry and published articles on newspapers. He was sentenced several times for his ideas and politically charged lyrics and in 1971 he was banned of performing for 8 years. Nevertheless his songs and poems continued to be performed by musicians of various genres to this day.", |
|||
"url": "https://www.youtube.com/embed/LP5vWUSdbxg" |
|||
}, |
|||
{ |
|||
"name": "Karacaoğlan", |
|||
"group": 1, |
|||
"id": "karacaoglan", |
|||
"time": 1, |
|||
"bio": "Karacaoğlan was a folk poet and ashik (est. 1600-1690) believed to have lived in the South East Anatolia. He chanted mostly about love, nature and Anatolian settlements and did not concentrate much on islamic themes or on love of God. He was much appreciated after the foundation of the Republic of Turkey in 1923 for his usage of simple language and choice of folk vocabulary and was a great influence on the modern lyric poetry.", |
|||
"url": "https://www.youtube.com/embed/JnDKZZpWBCY" |
|||
}, |
|||
{ |
|||
"name": "Aşık Veysel", |
|||
"group": 1, |
|||
"id": "asikV", |
|||
"time": 1, |
|||
"bio": "Ashik Veysel (1894-1973) was one of the most famous Ashik of the late Ottoman, early republic times. In 1930’s Ashik Veysel became the national poet of the republic but his Alevi root was not fully recognized. He was one of the teachers at the Hasanoğlu Village Institute (1942-1947) and thought playing cura. He’s been an inspiration and a master for many western educated musicians of modern Turkey. ", |
|||
"url": "https://www.youtube.com/embed/5_9PAugYb4s", |
|||
"url2": "https://www.youtube.com/embed/t64yH04XWs8" |
|||
}, |
|||
{ |
|||
"name": "Neşet Ertaş", |
|||
"group": 1, |
|||
"id": "neset", |
|||
"time": 1, |
|||
"bio": "Neşet Ertaş (1938-2012) was a folk poet, a modern ashik and son of Turkish folk singer Muharrem Ertaş. In his teenage years he moved to Ankara and started performing in national radio station (TRT) and in night clubs during the night. In 1978 his fingers became paralyzed which forced him to move to Germany where his brother lived. There he recovered and started performing again at wedding ceremonies and teaching at the school of arts. Even though he lived abroad for about 30 years, when he returned to Turkey, the public of his homeland welcomed him with a great attendance to his concerts all around Anatolia. ", |
|||
"url": "https://www.youtube.com/embed/DHuqxYSmclE" |
|||
}, |
|||
{ |
|||
"name": "Muharrem Ertaş", |
|||
"group": 1, |
|||
"id": "muharrem", |
|||
"time": 1, |
|||
"bio": "Muharrem Ertaş (1913-1984) was a Turkish folk singer and one of the most important executant of Bozlak (a form of Turkish folk song) genre. He played and sang poems and ballads of many ashiks like Karacaoğlan, Pir Sultan Abdal, Dadaloğlu. He instructed his son Neşet Ertaş in playing the cura instrument. ", |
|||
"url": "https://www.youtube.com/embed/Ffa2CONoW5Q" |
|||
|
|||
}, |
|||
{ |
|||
"name": "Ali Ekber Çiçek", |
|||
"group": 1, |
|||
"id": "aliekber", |
|||
"time": 1, |
|||
"bio": "Ali Ekber Çiçek (1935-2006) became familiar with the Alevi culture and learned to play the cura at gatherings called Cem. He was employed at the İstanbul Radio and compiled hundreds of folk songs. He is the author of 'Haydar Haydar', a folk song that took him almost 3 years to master.", |
|||
"url": "https://www.youtube.com/embed/1fJw71ZJUy4" |
|||
}, |
|||
{ |
|||
"name": "Dedemoğlu", |
|||
"group": 1, |
|||
"id": "dedeoglu", |
|||
"time": 1, |
|||
"bio": "Dedemoğlu was a Turkmen ashik from 19th century. His ballads tell the story of migration for the sake of ‘iskan’, Ottoman relocation policy, in Anatolia. Turkmen communities were used to change the demography of new conquest territory and border zones. ", |
|||
"url": "https://www.youtube.com/embed/fKOKxuFyEdg" |
|||
}, |
|||
{ |
|||
"name": "Pir Sultan Abdal", |
|||
"group": 1, |
|||
"id": "pir", |
|||
"time": 1, |
|||
"bio": "Pir Sultan Abdal, an important Alevi-Bektaş-i (follower of Hacı Bektaş-i Veli) poet and dervish of the 16th century, was a political figure and would speak his mind about equality believing in sharing all except for women. In those years there were riots in Anatolia and they started in guidance of sufi lodges and the leaders of them. Pir Sultan was a supporter of the Iranian Shah (King) and expressed his ideas against the Ottoman Pashas. With the orders of the palace against provocateurs, Pir Sultan was captured and later hanged by Hızır Pasha (the mayor of Sivas). His legend grew more with this terrible event, stories were told and many other cura poets under same name started to appear. He left behind a big collection of poems that often guides researchers and historians in understanding the Anatolian folk and their relation with the palace.", |
|||
"url": "https://www.youtube.com/embed/2r9MrqMilRo" |
|||
}, |
|||
{ |
|||
"name": "Anatolyan Anonymous Folk Balads", |
|||
"group": 1, |
|||
"id": "balads", |
|||
"time": 1, |
|||
"bio": "bio1" |
|||
}, |
|||
{ |
|||
"name": "Yunus Emre", |
|||
"group": 2, |
|||
"id": "yunus", |
|||
"time": 1, |
|||
"bio": "Yunus Emre (1238-1328) a Turkish folk poet and Sufi mystic, was one of the first known poets to have composed works in the spoken Anatolian Turkish. He was influenced by Alevism and followed Hacı Bektaş-ı Veli. He wrote in poetry form with inspired by the oral folklore tradition that he had encountered. His poems were concerned with divine love and human destiny." |
|||
}, |
|||
{ |
|||
"name": "Kaygusuz Abdal", |
|||
"group": 2, |
|||
"id": "kaygusuz", |
|||
"time": 1, |
|||
"bio": "Kaygusuz Abdal (1341- ?) was born in Alanya (Alaiye) in Southern Anatolia and was also known as Alayi Gaybi (Alaeddin Gaybi). We learn about his life from his saga piece ‘Menakıpname’ which includes the story about his pseudonym. According to the epic, young Gaybi goes hunting and wounds a gazelle with his arrow right below the arm. The wounded gazelle runs towards the lodge of Abdal Musa and goes in. Gaybi runs after it, goes in the lodge and asks the dervishes about the gazelle. He tells his story in presence of Abdal Musa and asks the gazelle back. Abdal Musa pulls the arrow out of his body and says ‘Is this your arrow son?’. When Gaybi recognizes his arrow he surrenders to Abdal Musa and stays at his lodge to follow his teachings. Menkıpname tells: Gaybi left his aristocratic identity. Accepted the dervish path and abandoned the wealth of material world. Isolated his soul from the attachments of the worldly desires. This is why Abdal Musa said to him, ‘Gaybi, you are healed from the inquietudes of the world, from now on you’ve become Kaygusuz (meaning freed from worries)’. His usage of the Turkish language was simple and poetic forms were very diverse. Inspired greatly from the work of Yunus Emre, he wrote on islamic mysticism, religion, doctrines and cults." |
|||
}, |
|||
|
|||
{ |
|||
"name": "Ahmed Yesevi", |
|||
"group": 2, |
|||
"id": "ahmedY", |
|||
"time": 1, |
|||
"bio": "Ahmed Yesevi (1093-1166) was a mystic and an Alevi Turkmen poet known as the architect of the islamic mystic movement called Yesevilik. His doctrines influenced the Alevi-Bektaşi Cult and the Sunni communities of local and migrant Turkic folk as well as other islamic countries of Middle East. He thought islamic values with simple language structures and communicated with methods familiar to the public. He is known more for his ideas rather than as a literary figure." |
|||
}, |
|||
{ |
|||
"name": "Mevlana Celaleddin Rumi", |
|||
"group": 2, |
|||
"id": "mevlana", |
|||
"time": 1, |
|||
"bio": "Mevlana Celaleddin Rumi (1207-1273). Mevlana’s philosophies and teachings are well known and appreciated around the world. He is one of the most influential islamic thinker and mystic poet who came to Anatolia with his family escaping the Mongolian invasions in the middle east. Like his father, he taught values of islam to the Anatolian folk. He often traveled to Damascus and Aleppo to improve himself. At one of his trips he met Şemsi Tebrizî, an Iranian mystic and sheik, whom later came to Konya and became Mevlana’s partner on the path to divine love. Making time only for their conversations, Mevlana stopped preaching. Their close relationship caused problem in the community and to avoid conspiracies Şemsi Tebrizi left Konya. His absence caused great pain to Mevlana and pushed him into poetry. Mevlana’s doctrine advocates unlimited tolerance, positive reasoning, goodness, charity and awareness through love." |
|||
}, |
|||
{ |
|||
"name": "Hacı Bektaş-i Veli", |
|||
"group": 2, |
|||
"id": "haci", |
|||
"time": 1, |
|||
"bio": "Hacı Bektaş-i Veli (1209-1271) was a Shi’i mystic and leader of the dervish order named after him. Although there are different views, he is mostly recognized as the follower of Ahmed Yesevi and had a big role in spreading his teachings in Anatolia. In the first years of Ottoman Empire he had a great influence in development of social structure. The lodge of Hacı Bektaş-ı Veli became central for the Alevi communities and still today plays a key role in spreading their beliefs and world views. There are different views about his history. According to the Ottoman historian Aşıkpaşazade Dervish Ahmet Ashiki (15th c.), Hacı Bektaş-i Veli was sufi who was carried away by the mystical experience and had no lodge or followers. According to this historian Hatun Ana or Kadıncık Ana (woman mother) was his adoptive daughter and that he left his teachings and prophecies to her and that she shared them with Abdal Musa." |
|||
}, |
|||
{ |
|||
"name": "Nazım Hikmet", |
|||
"group": 3, |
|||
"id": "nazim", |
|||
"time": 1, |
|||
"bio": "Nazım Hikmet (1902-1963) was a communist poet, playwright, novelist. Because of his political beliefs he spent most of his adult life either in prison or in exile. His work was appreciated world wide and has been translated to fifty languages. His poems has been composed and performed as a song by musicians of various genre and era. Ran had Polish and Turkish citizenship. The latter was revoked in 1959, and restored in 2009. He was in exile when he died in Russia where he is buried. His final wish, never carried out, was to be buried under a plane-tree in any village cemetery in Anatolia. He was influenced by the young Soviet poets and when he came back to Turkey, he brought stylistic innovations in poetry, theater plays and film scripts. Breaking the boundaries of syllabic meter, he changed his form and began writing in free verse, which harmonised with the rich vocal properties of the Turkish language.", |
|||
"url": "https://www.youtube.com/embed/11XRG-cz3lY" |
|||
}, |
|||
{ |
|||
"name": "Ahmed Arif", |
|||
"group": 3, |
|||
"id": "ahmedA", |
|||
"time": 1, |
|||
"bio": "Ahmed Arif (1927-1991) was a half Kurdish half Turkish poet and a journalist that defended communist political views and followed socialist realist movement in his works. His poems have been composed into songs by musicians of different generations and genres. " |
|||
}, |
|||
{ |
|||
"name": "Gülten Akın", |
|||
"group": 3, |
|||
"id": "gulten", |
|||
"time": 1, |
|||
"bio": "Gülten Akın (1933-2015) was a poet, lawyer and a teacher who wrote about woman, urban life and poverty, immigration and conviction. She lived in various regions of Anatolia due to his husband’s job as district governor. She worked in community centers and Human Rights Association. Sezen Aksu, the Queen of Turkish Pop, composed one of her poems, ‘Deli Kızın Türküsü’ into a song and named her album after it. Gülten Akın is one of the most appreciated female poet of Turkey who broke the preconceptions about female poets in the Turkish cultural field mainly dominated by male writers." |
|||
}, |
|||
{ |
|||
"name": "Nilgün Marmara", |
|||
"group": 3, |
|||
"id": "nilgun", |
|||
"time": 1, |
|||
"bio": "Nilgün Marmara (1958-1987) was a poet who’s work was not published in her life time. She was the daughter of an immigrant family who came to İstanbul from Bulgaria. She was born in İstanbul and studied English literature in Boğaziçi University. She wrote her thesis on Slyvia Plath’s poetry and its relation with the writer’s suicide. She shared her work only with other contemporary writers who nicknamed her ‘Zelda’ after the wife of Fitzgerald and because of her marginal style. Her poems are introversive and studies the layers of the subconscious and essence of self/ego. As a result of her mental struggels, she commits suicide by jumping off the balcony of her house and dies at 29 years old." |
|||
}, |
|||
{ |
|||
"name": "Atilla İlhan", |
|||
"group": 3, |
|||
"id": "atilla", |
|||
"time": 1, |
|||
"bio": "Atilla İlhan (1925-2005) was a Turkish poet, novelist, senarist, journalist and critic from İzmir. His troubles with authority starts when he was in highschool. He gets caught with a poem of Nazım Hikmet and was banned from school life for 3 years. He spent the 1950’s traveling between Paris, İstanbul and İzmir while defending Nazım Hikmet, escaping disquisitions, learning French and Marksizim. When he returned to Turkey, he became a journalist and started writing film critics. He started writing the poem ‘Mahur’ in response to the execution of Marksist-Leninist activists, Deniz Gezmiş, Yusuf Aslan and Hüseyin İnan in 1972. This poem was made into a song by Ahmet Kaya in 1993." |
|||
}, |
|||
{ |
|||
"name": "Lale Müldür", |
|||
"group": 3, |
|||
"id": "lale", |
|||
"time": 1, |
|||
"bio": "Lale Müldür (1956) is a poet and writer from Aydın. She is considered to be the most influential writer of the last decades. She lived in UK and in Belgium, wrote a column for Radikal newspaper. Some of her poems have been made into song and her book ‘Mom, am I barbarian?’ became the title of the 13th İstanbul Biennale." |
|||
}, |
|||
{ |
|||
"name": "Neyzen Tevfik", |
|||
"group": 3, |
|||
"id": "neyzen", |
|||
"time": 1, |
|||
"bio": "Neyzen Tevfik (1879-1953). Tevfik Kolaylı was a ney player and a poet who had a critical approach against injustice and corruption. He had to stop his education due to epileptic seizures and started going to the Mevlevi lodge where he practiced Ney and studied Turkish, Arabic and Persian with Şair Eşref who also thought him satire. He met important writers and poets of the time through his father’s connections. Because of his speeches against oppression of the Ottoman Empire, he was taken under custody for a short period and was denounced many times. He became a dervish at the Bektas-i longe. He was a supporter of the republic and the revolutions and wrote poems that talked about the Liberation War and Atatürk. Even though his drinking problem and sharp tongue caused him trouble, he never stoped stating his opinion and continued talking his philosophic mind even at the mental hospital and continued producing until his death.", |
|||
"url": "https://www.youtube.com/embed/CD-CEeaLGdk" |
|||
}, |
|||
{ |
|||
"name": "Melih Cevdet Anday", |
|||
"group": 3, |
|||
"id": "melih", |
|||
"time": 1, |
|||
"bio": "Melih Cevdet Anday (1915-2002) was a Turkish poet, playwright, novelist who brought innovations to poetry with the movement ‘Garip’ (bizzare) with his poet friends Orhan Veli and Oktay Rifat. Later he also followed a more philosophical poetry approach. Because he was often dismissed from newspapers for his ideas, he started writing with pseudonyms. In 1956 his poetry book ‘Yan Yana’ was prohibited. His poem ‘Şinanay’ was made into a song by Sezen Aksu and became one of her most known song in the 1990’s." |
|||
}, |
|||
{ |
|||
"name": "Cahit Sıtkı Tarancı", |
|||
"group": 3, |
|||
"id": "cahit", |
|||
"time": 1, |
|||
"bio": "Cahit Sıtkı Tarancı (1910-1956) was a Turkish poet, author and translator. He was born in Diyarbakır to a wealthy family and completed his high school studies in French in İstanbul. He went to Paris for university education but had to return due to the Second World War. He starts writing poetry in high school inspired by the French writer Charles Baudelaire. He writes about bohemian life, joy of life and death and solitude. Many of his poems were composed into different Maqam of Turkish classical music but his most famous poem ‘Age Thirty-five’ became the most known after Pop singer Hümeyra sang in one of her albums in 1975." |
|||
}, |
|||
{ |
|||
"name": "Orhan Veli Kanık", |
|||
"group": 3, |
|||
"id": "orhan", |
|||
"time": 1, |
|||
"bio": "Orhan Veli (1914-1950) was one of the founders of the ‘Garip’ poetry movement in Turkey and aimed to replace old structures by using street talk in his poetry. He refused using the syllabic meter and aruz prosody to come up with new systems. He was criticized and undermined for abandoning the traditional methods. His approach helped to close the gap between the public and intellectual class. His poems were composed into songs by Cem Karaca, Levent Yüksel, Özdemir Erdoğan, Hümeya and many more." |
|||
}, |
|||
{ |
|||
"name": "Metin Altıok", |
|||
"group": 3, |
|||
"id": "metin", |
|||
"time": 1, |
|||
"bio": "Metin Altıok (1940-1993) was a poet from İzmir who got published in the 1970’s. His poetry was influenced from the poetry movements and themes of the 1960’s. He used a simple language and used forms of folk poetry. He thought philosophy in high schools in Bingöl where he was exiled. He was one of the intellectuals who couldn’t survive The Sivas massacre in 1993 which was an event that killed 37 people, mostly Alevi intellectuals, that had gathered in the Hotel Madimak for the Pir Sultan Abdal festival and were killed when a mob of radical islamists set fire to the hotel. One of his poems have been composed by Onno Tunç and performed by Sezen Aksu and another one was composed by Fazıl Say and performed by Serenad Bağcan." |
|||
}, |
|||
{ |
|||
"name": "Ruhi Su", |
|||
"group": 4, |
|||
"id": "ruhisu", |
|||
"time": 1, |
|||
"bio": "Ruhi Su (1912-1985) was also one of the teachers of this institute and he had a different back ground. He was one of the first musicians to be trained in the conservatory with western methods (like opera singing). He used his training and combined it with the folkloric traditions. He also made albums chanting the poems of Nazım Hikmet, 20th century poet who’s citizenship was deprived due to his political views. Ruhi Su also trained women musicians such as Tülay German and Sümeyra Çakır and they also followed his path in merging western voice techniques and instruments with the Anatolian folkloric traditions, sounds and songs. Rock and Jazz tunes became popular and they were exciting for the new generation musicians who now had the necessary means to produce themselves.", |
|||
"url": "https://www.youtube.com/embed/GnySKSOeacM" |
|||
}, |
|||
{ |
|||
"name": "Asu Maralman", |
|||
"group": 4, |
|||
"id": "asu", |
|||
"time": 1, |
|||
"bio": "Asu Maralman (1948) In her original name, Silvia Bursalıoğlu is an Armenian musician from Turkey. She made part of the 1970’s musical movement and recorded folk songs and ballads with a western styled orchestra and her then husband Orhan Şevki.", |
|||
"url": "https://www.youtube.com/embed/mETzamzufh4" |
|||
}, |
|||
{ |
|||
"name": "Ceylan Ertem", |
|||
"group": 4, |
|||
"id": "ceylan", |
|||
"time": 1, |
|||
"bio": "Ceylan Ertem (1980) is a musician from Adapazarı with Circassian origins. She started her musical life in 1992 and have performed in various bands and projects in different genres. She’s been concentrating on her solo career since 2010 and have made covers of many folk songs, ballads as well as songs of Turkish classical music. ", |
|||
"url": "https://www.youtube.com/embed/SnIzFKKPpFs" |
|||
}, |
|||
{ |
|||
"name": "Ahmet Kaya", |
|||
"group": 4, |
|||
"id": "ahmet", |
|||
"time": 1, |
|||
"bio": "Ahmet Kaya (1957-2000) was a Kurdish-Turkish folk singer from Malatya. He learned playing cura (saz-bağlama) from a very young age with the encouragement of his uncle and father. His life evolved around music and he started performing in the region. They moved to İstanbul with his family due to financial difficulties and he starting doing various jobs. He met Ruhi Su and sang his famous ballad ‘Mahsus Mahal’ at an event in Boğaziçi University. He published his first album in 1984 and a second one in 1985. He made albums with songs made from poems of political prisoners of his time like Nevzat Çelik or Arkadaş Z. Özger as well as poets of older generations like Atilla İlhan, Ahmed Arif, Can Yücel. He made 22 albums and had only one song in Kurdish. This was because of the policies and prohibitions of the Turkish Government against Kurdish people and their ethnic identity. At an award ceremony, he received his awarding the name of Human Rights Association, Saturday Mothers, laborers of the press and whole folk of Turkey. In his speech he announced that he is going to release an album with a Kurdish song which will be put in circulation with a video clip. His speech caused anger in the room and he got attacked verbally by other musicians. Following this event a newspaper published a photo from a concert in Berlin with fault accusations of him supporting the Kurdish guerrilla PKK. Following this there has been several cases against him for which he defended himself. He left Turkey in 1999 and in March 2000 he got charged with almost 4 years of imprisonment for spreading separatist propaganda. Later that year he died from a heart attack in Paris at age 43.", |
|||
"url": "https://www.youtube.com/embed/YwKWvUQqWv8" |
|||
}, |
|||
{ |
|||
"name": "Fazıl Say", |
|||
"group": 4, |
|||
"id": "fazil", |
|||
"time": 1, |
|||
"bio": "Fazıl Say (1970) is a Turkish pianist and composer born in Ankara. He was a child prodigy and he started training in music when 3 years old. Today he is one of the most appreciated and talented composer in the world. His music often captures and transforms melodic ideas and tunes from folk music of Turkey and its neighbors. He takes great inspiration from poetry and writers such as Nazım Hikmet and Metin Altıok and composes works for soloists, chorus and orchestra.", |
|||
"url": "https://www.youtube.com/embed/BQURla4dMOM", |
|||
"url2": "https://www.youtube.com/embed/Wmg9zmmwrSg" |
|||
}, |
|||
{ |
|||
"name": "Selda Bağcan", |
|||
"group": 4, |
|||
"id": "selda", |
|||
"time": 1, |
|||
"bio": "Selda Bağcan (1948) is a Turkish folk singer-songwriter and music producer and today she is very well known by the music industry around the world. She started her career in 1971 by interpreting traditional Turkish folk songs. She released twelve singles and three LP records and toured in Turkey and western Europe. Her songs carried strong social criticism and solidarity with the poor and working class. This made her popular among the left-wing activists in the politically polarized climate of the 1970’s. After the 1980 Turkish coup d’état, she was persecuted by the military rulers due to her political songs and was imprisoned three times between 1981 and 1984. Her music continued responding to the political events and disasters happening in the country. Her music has been sampled by musicians outside of Turkey like Mog Def, Dr. Dre or 2manydjs." |
|||
}, |
|||
{ |
|||
"name": "Sezen Aksu", |
|||
"group": 4, |
|||
"id": "sezen", |
|||
"time": 1, |
|||
"bio": "Sezen Aksu (1954) is a singer, composer and song writer whom is also referred as ‘Queen of Turkish Pop’ and ‘Little Sparrow’. She started her professional career in mid 1970’s with few extended-plays and started performing live in night clubs of the time. In 1980’s her success grew with new songs she made in collaboration with Onno Tunç. She worked as a producer in 1990’s and helped young vocalists like Sertap Erener, Aşkın Nur Yengi, Levent Yüksel,whom later became famous pop stars of the country. In 1993 she made the album ‘Deli Kızın Türküsü’ which included the same titled poem of Gülten Akın. She also made albums with traditional ballads and with poems by Yunus Emre, Mevlana. She fights against misogyny, discrimination, homophobia and injustices.", |
|||
"url": "https://www.youtube.com/embed/O6CIRoPzcws", |
|||
"url2": "https://www.youtube.com/embed/8SadbBESMbM" |
|||
}, |
|||
{ |
|||
"name": "Büyük Ev Ablukada", |
|||
"group": 4, |
|||
"id": "buyuk", |
|||
"time": 1, |
|||
"bio": "Büyük Ev Ablukada is a band founded in İstanbul in 2008. They became well-known in short time with their own songs in alternative music scene of İstanbul. The name of the band is borrowed from the title of Turgut Uyar’s poem and they occasionally include verses from other poets as well. ", |
|||
"url": "https://www.youtube.com/embed/ZXYaTnyaJok" |
|||
}, |
|||
{ |
|||
"name": "Sümeyra Çakır", |
|||
"group": 4, |
|||
"id": "sumeyra", |
|||
"time": 1, |
|||
"bio": "Sümeyra Çakır (1946-1990) was another musician who used folk music to express ideas and to unite people in resistance. Her music career started in her university years after meeting Ruhi Su at the evening classes of the conservatory. Following this she started chanting only folk songs and in 1975 they started the “Chorus of Friends” together with Ruhi Su. Their repertoire had folk songs from Cura Poets such as Pir Sultan Abdal and Köroğlu. In late 70’s she started doing concerts in Europe and mostly in Germany to an audience of working class immigrated from Turkey starting from the 60’s. In 1980, because she sung the communist international anthem at the East Berlin political songs festival, an inquiry started about her political stand in Turkey and after this she couldn't go back and continued her life/career in Europe. She was giving concerts all over Europe but was specially active in East and West Germany.", |
|||
"url": "https://www.youtube.com/embed/4rNw_TUhwIE", |
|||
"url2": "https://www.youtube.com/embed/NZJmuzukbwY" |
|||
}, |
|||
{ |
|||
"name": "Cem Karaca", |
|||
"group": 4, |
|||
"id": "cem", |
|||
"time": 1, |
|||
"bio": "Cem Karaca (1954-2004), coming from an Azarbaijani father and an Armenian mother, was one of the most important figures in the Anatolian rock movement. He produced together with bands like Moğollar, Apaşlar, Kardaşlar and Dervişan until he left for West Germany in 1979 to avoid accusations of the government which portrayed him as a separatist thinker and a Marxist-Leninist. After the 1980 Turkish coup d’état a warrant was issued for his arrest so he decided not to come back. He was strip off his Turkish citizenship and the arrest warrant was kept active until 1987. After his return he continued producing solo albums and kept his critical tone. He became the major figure in the Anatolian rock scene by producing eastern traditional folk songs, and composing poems of Nazım Hikmet, Ahmed Arif, into songs with western rock style. ", |
|||
"url": "https://www.youtube.com/embed/khD07C-YDL4" |
|||
}, |
|||
{ |
|||
"name": "Barış Manço", |
|||
"group": 4, |
|||
"id": "baris", |
|||
"time": 1, |
|||
"bio": "Barış Manço (1943-1999) was a Turkish Rock musician, singer, songwriter, composer, television producer and show host. He was one of the founders of the Anatolian rock genre and one of the most popular public figures of Turkey. In the 1963 he moved to Europe and formed bands with local musicians recording songs mainly in English, French and Turkish. He also formed a band with Turkish musicians, Mazhar Alanson and Fuat Güner but had to end this collaboration when those two returned to Turkey. In the 1970’s he formed Kurtalan Ekspres, a legendary band that accompanied him until his death. In 1990’s he worked in television and produced shows that reached to a wide audience including children. ", |
|||
"url": "https://www.youtube.com/embed/9qfbepXqd3c" |
|||
}, |
|||
{ |
|||
"name": "Ayfer Vardar", |
|||
"group": 4, |
|||
"id": "ayfer", |
|||
"time": 1, |
|||
"bio": "Ayfer Vardar (1984) is a folk music singer and performer from Erzurum. She was trained at the Pir Sultan Abdal cultural centre and Istanbul Technical University Conservatoire. She made albums that compiled generations of traditional sounds and ballads.", |
|||
"url": "https://www.youtube.com/embed/PU3fkxsRq2M" |
|||
}, |
|||
{ |
|||
"name": "Tülay German", |
|||
"group": 4, |
|||
"id": "tulay", |
|||
"time": 1, |
|||
"bio": "Tülay German (1935) started her music career when she was a child and continued in post high school years, beginning of 60’s, she started taking stage in secret from her parents. She slowly became famous as a Jazz singer and started singing on a famous weekly radio program. She took lessons from Ruhi Su and made covers of songs from famous Ashiks of the time. With Erdem Buri (later husband) they made a program called 'Polyphonic Turkish Pop Music' and later made the first Anatolian Pop record 'Burçak Tarlası // Vetch Field' which was a cover of an Anatolian folk song by the folk poet Kör Şakir // Şakir the blind. Because of Buri’s political views he was in trial facing 15 years of prison. He decided to run away and German joined him in this political exile. They moved to Paris and she continued making records with the record label Philips. Later on, in empathy(?) of the violent political depression going on in Turkey, she decided to end her contract and concentrated her music to folk tunes and poems voicing the concerns of many exiled like herself in Europe.", |
|||
"url": "https://www.youtube.com/embed/AnsVY_gjJns" |
|||
}, |
|||
{ |
|||
"name": "Ezhel", |
|||
"group": 4, |
|||
"id": "ezhel", |
|||
"time": 1, |
|||
"bio": "Ezhel (1991) Sercan ipekçioğlu is a rapper, singer and songwriter from Ankara. He first started performing reggae tunes under the name Ais Ezhel until 2017. His solo album ‘Müptezel’ came out in 2017 and became extremely popular among young people. He got arrested in 2018 accused of ‘inciting drug use’ in his songs. This created a big reaction from the public and other artists. Hashtag ‘FreeEzhel’ became trendy on social media and international amnesty collected thousands of signatures for his release. In the end he got an acquittal but moved to Berlin to produce in total freedom. Ezhel also plays cura and is strongly influenced by Neşet Ertaş and often refers to his lyrics in his songs. He often collaborates with immigrant rappers in Germany and Netherlands which connects the audience from Europe and Turkey to each other. He is one of the most promising musical figures of Turkey.", |
|||
"url": "https://www.youtube.com/embed/z8TN8aspkUw" |
|||
}, |
|||
{ |
|||
"name": "Neşe Karaböcek", |
|||
"group": 4, |
|||
"id": "nese", |
|||
"time": 1, |
|||
"bio": "Neşe Karaböcek (1947) was a singer that started performing from a very young age. She starts performing in theater plays even before she goes to elementary school. She tries all kinds of music genres through her career on stage. Like many others from her generation, she made covers and western arrangements of traditional folk songs.", |
|||
"url": "https://www.youtube.com/embed/knomkDpzeCA" |
|||
}, |
|||
{ |
|||
"name": "Erkin Koray", |
|||
"group": 4, |
|||
"id": "erkin", |
|||
"time": 1, |
|||
"bio": "Erkin Koray (1941) is a Turkish singer-song writer, guitarist and one of the pioneers of Anatolian rock. In addition to his own compositions, he rearranged multiple well known Turkish folk songs and created the genre Arabesk-rock. It is said that he created the electronic cura to include it more in the rock music as well. Starting from 1970’s he started to be influenced by psychedelia and fuzz rock making albums featuring extended guitar solos and progressive arrangements. In 1974 he made the ground breaking album ‘electronic ballads’. He hasn’t been fully accepted with his style, music and lyrics by the governmental institutions until end of 1990’s. Today his work is appreciated and sampled all around the world while he lives in Vancouver Canada.", |
|||
"url": "https://www.youtube.com/embed/F-k_Fr67bPQ" |
|||
}, |
|||
{ |
|||
"name": "Fikret Kızılok", |
|||
"group": 4, |
|||
"id": "fikret", |
|||
"time": 1, |
|||
"bio": "Fikret Kızılok (1946-2001) was a young musician in the beginning of 60’s and at the time he was playing songs from Rolling Stones or Beatles at night clubs. At a trip with his friend, he met Ashik Veysel and made a cover of one of his ballads. Later he went back to Veysel’s village and stayed there for 3 month to learn from his master. He composed two poems of Veysel and decided to make songs about Anatolia. He started to compose using parts of poems from poets like Nazım Hikmet or Ahmed Arif. He wasn't the only one facing Anatolia and folk heritage. Many young musicians started to make covers of ballads combining them with the West tunes and calling it Anatolian Pop or Rock.", |
|||
"url": "https://www.youtube.com/embed/fkX9DJdr8ng", |
|||
"url2": "https://www.youtube.com/embed/Lti9s-q6rzM" |
|||
}, |
|||
{ |
|||
"name": "3 Hürel", |
|||
"group": 4, |
|||
"id": "3hurel", |
|||
"time": 1, |
|||
"bio": "3 Hürel (1970) is a Anatolian rock band founded by 3 brothers from Trabzon. They start performing together from a young age and continue after high school in İstanbul. Their biggest struggle is paying for the instruments. With their father they make a double handled cura-guitar which becomes the symbol of the band.", |
|||
"url": "https://www.youtube.com/embed/GU5qOhcG2eY" |
|||
}, |
|||
{ |
|||
"name": "Levent Yüksel", |
|||
"group": 4, |
|||
"id": "levent", |
|||
"time": 1, |
|||
"bio": "Levent Yüksel (1964) is a pop singer who became famous in the 1990’s with the support of Sezen Aksu while working with his then wife Sertab Erener. After 2000 his popularity faded but remained as a strong pop figure of the country. He made Orhan Veli’s poem ‘Dedikodu’ (Gossip) into a song.", |
|||
"url": "https://www.youtube.com/embed/dEoQEk5_OCs" |
|||
}, |
|||
{ |
|||
"name": "Serdar Ateşer", |
|||
"group": 4, |
|||
"id": "serdar", |
|||
"time": 1, |
|||
"bio": "Serdar Ateşer (1961) is a musician and composer who worked for films and advertisements. He produced his own albums and did the musical directory for albums of important artists like Bülent Ortaçgil and Erkan Oğur. In his album ‘Avdet Seferi’ he composed a poem by Lale Müldür and another one by Murathan Mungan.", |
|||
"url": "https://www.youtube.com/embed/s2xzrrifZY8", |
|||
"url2": "https://www.youtube.com/embed/EQH75Vij3q4" |
|||
}, |
|||
{ |
|||
"name": "Hümeyra", |
|||
"group": 4, |
|||
"id": "humeyra", |
|||
"time": 1, |
|||
"bio": "Fatma Hümeyra Akbay (1947) is a Turkish songwriter, singer, composer and actress. She started her professional career at the record company that she worked as a graphic designer. Her rearrangements of Turkish folk music songs became popular at the end of 1960’s. In 1970’s and 1980’s she composed many poems by older generation of poets and introduced them to younger generations. She’s been acting in musicals, films and tv series since 1980’s.", |
|||
"url": "https://www.youtube.com/embed/6bTRM8o8k5w" |
|||
}, |
|||
{ |
|||
"name": "MFÖ", |
|||
"group": 4, |
|||
"id": "mfo", |
|||
"time": 1, |
|||
"bio": "Mazhar Fuat ÖzkanMFÖ (1979) is a Turkish pop and rock band with Mazhar Alanson, Fuat Güner and Özkan Uğur as members. In 1960’s they all play with musicians of the time like Barış Manço, Fikret Kızılok , Erkin Koray etc. In 1971 Mazhar and Fuat record an album where they rearrange traditional ballads but fail commercially. Özkan started playing with them and released their first LP in 1984. Their songs touch daily issues, prejudices and influence from the Sufism and Sufist writers.", |
|||
"url": "https://www.youtube.com/embed/zbeErgE4quA" |
|||
}, |
|||
{ |
|||
"name": "İlhan Mimaroğlu", |
|||
"group": 4, |
|||
"id": "ilhan", |
|||
"time": 1, |
|||
"bio": "İlhan Mimaroğlu (1926-2012) was a pioneer composer, music critic and writer from Turkey. Even though he moved to New York already in 1959 he kept his close relations with Turkey. He studied musicology in University of Colombia where he followed classes by Paul Henry Lang and Dogulas Moore. He starts teaching in the same university after getting his master degree in electronic music. He worked with Tülay German for the album ‘Tract: A Composition of Agistprop Music for Electromagnetic Tape’ with verses from Nazım Hikmet and Mahir Cayan, Bertold Brecht, Karl Marx and many more. He also made ’To Kill a Sunrise and La Ruche” which is a ‘requiem for those shot in the back’ referring to political executions all around the world.", |
|||
"url": "https://www.youtube.com/embed/AWEKfWzO-_c" |
|||
} |
|||
], |
|||
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} |
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|||
# Welcome to p5.js |
|||
|
|||
You have downloaded the complete p5.js library ZIP file, yay! |
|||
|
|||
# Contents of the p5 folder |
|||
|
|||
* p5.js file |
|||
* p5.min.js file |
|||
* addons folder |
|||
* p5.sound.js |
|||
* p5.sound.min.js |
|||
* empty-example folder |
|||
* index.html |
|||
* p5.js |
|||
* p5.sound.js |
|||
* sketch.js |
|||
|
|||
## p5.js |
|||
|
|||
This file stores the complete p5.js library. It is easy to read by humans, so feel free to open it and explore its contents. It also has a friendly error system, which helps new programmers with common user errors. |
|||
|
|||
## p5.min.js |
|||
|
|||
This file is a minified version of the p5.js file. It is a lighter version, with the same functionalities, but smaller file size. This minified version is harder to read for humans, and does not include the friendly error system. |
|||
|
|||
## addons folder |
|||
|
|||
The addons folder includes additional p5.js related libraries, in both original versions and minified versions. |
|||
|
|||
### p5.sound.js, p5.sound.min.js |
|||
|
|||
p5.sound extends p5.js with Web Audio functionality including audio input, playback, analysis, and synthesis. |
|||
|
|||
## empty-example folder |
|||
|
|||
This is an empty example of a website. The folder includes the file for the website, index.html, the p5.js library, other related p5.js libraries, and a template starting point for your p5.js sketch, called sketch.js. |
|||
|
|||
### index.html |
|||
|
|||
index.html is a template for an HTML file. This index.html first imports the libraries included in the folder (p5.js, p5.sound.js) then loads and executes the file sketch.js which is where you can write your own code. |
|||
|
|||
### sketch.js |
|||
|
|||
The sketch.js is a template for the p5.js sketch, with the functions setup() and draw() that you can complete. |
|||
|
|||
## README.txt |
|||
|
|||
This README file formatted with Markdown :) |
|||
|
|||
# What's next? |
|||
|
|||
If you need more information to help get you started, please refer to our website: |
|||
https://p5js.org/get-started/ and https://p5js.org/learn/ |
|||
|
|||
An online reference to the p5.js library is available here: |
|||
https://p5js.org/reference/ |
|||
|
|||
In order to run your website (including the empty-example), you need to enable a local server, please see this tutorial in our wiki: |
|||
https://github.com/processing/p5.js/wiki/Local-server |
|||
|
|||
p5.js is a community and p5.js is built by contributions. If you want to learn more about us, visit: |
|||
https://p5js.org/community/ |
|||
|
|||
# License |
|||
|
|||
The p5.js library is free software; you can redistribute it and/or modify it under the terms of the GNU Lesser General Public License as published by the Free Software Foundation, version 2.1. |
|||
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<!DOCTYPE html> |
|||
<html lang=""> |
|||
|
|||
<head> |
|||
<meta charset="utf-8"> |
|||
<meta name="viewport" content="width=device-width, initial-scale=1.0"> |
|||
<title>p5.js example</title> |
|||
<style> |
|||
body { |
|||
padding: 0; |
|||
margin: 0; |
|||
} |
|||
</style> |
|||
<script src="../p5.js"></script> |
|||
<script src="../addons/p5.sound.min.js"></script> |
|||
<script src="sketch.js"></script> |
|||
</head> |
|||
|
|||
<body> |
|||
<main> |
|||
</main> |
|||
</body> |
|||
|
|||
</html> |
|||
@ -1,7 +0,0 @@ |
|||
function setup() { |
|||
// put setup code here
|
|||
} |
|||
|
|||
function draw() { |
|||
// put drawing code here
|
|||
} |
|||
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|||
<h1>Wells of Knowledge: <p>Streams of poetry, music and resistance in Turkey</h1> |
|||
<h2>Merve Kılıçer</h2> |
|||
<p><i>“If history writing does not emancipate, it must be serving tyranny.” |
|||
Cemal Kafadar, ‘Kendine ait bir Roma’, pg.1</i><br></p> |
|||
|
|||
In 2012, rumors started about a shopping mall to be built in the place of Gezi Park 1 near Taksim |
|||
Square in İstanbul. This park had not necessarily been in good shape for a while, but it offered a |
|||
shaded passage way for passersby, benches for the homeless, a playground for children and most |
|||
importantly, it was the last bit of green space in the concrete face of our cosmopolitan home. The |
|||
whole project was called ‘Taksim Yayalaştırma Projesi' (Project for The Pedestrianization of Tak- |
|||
sim) and the ruling government of AKP was insistent on realizing it despite the oppositions from |
|||
TMMOB (the chamber of architects) and solidarity organizations against gentrification like İstanb- |
|||
ul Kent Savunması (Istanbul City Defence) and Taksim Dayanışması (Taksim Solidarity). In fact, |
|||
many people had already been protesting and showing resistance against such projects that demol- |
|||
ished historic buildings of the area in the name of ‘urban transformation’. At first, protests evolving |
|||
around such projects were small scale and the police were aggressive enough to diffuse the crowd. |
|||
Things started to intensify when Emek Cinema, a historic cinema theatre, was demolished to be- |
|||
come a shopping mall in the spring of 2013. Following this event, more people started joining envi- |
|||
ronmentalist groups camping and organizing small concerts at Gezi park to raise awareness. On |
|||
29th of May, many people including myself were notified through friends and social media that the |
|||
trees of the park were being uprooted by the construction company and that police forces attacked |
|||
people who tried to resist them. When the police blocked all entrances to the Taksim Square and |
|||
the park, it marked the beginning of the biggest protest in the history of the Republic of Turkey. |
|||
Demonstrations started in Istanbul, around Taksim and spread across the country with the slogan |
|||
‘Her yer Taksim Her yer Direniş’, translating ‘Everywhere is Taksim, Resistance Everywhere’. |
|||
I was also with the protestors as I had spent most of my youth in Taksim and the Beyoğlu neigh- |
|||
borhood and I wasn't going to sit behind while they destroyed my home town. After two days of |
|||
protests and battle with the police, security forces finally stepped out of the square, hence starting |
|||
the 2 week long-occupation of Taksim Square. In the days of occupation, the park and square be-came fully pedestrianized because all the roads were blocked with barricades, and money exchange |
|||
was not necessary due to the donations the movement had received with emerging solidarity prac- |
|||
tices. |
|||
The occupation was a historic event for all of the country. It was like falling in love. It was terrify- |
|||
ing. It was traumatizing. It took lives. And it brought lives together. It was hopeful. And fearful. It |
|||
was a reverberation of the un/under/misrepresented multitude of Turkey. And we were clueless |
|||
about where to go from there. I remember an international journalist had asked me if it was a polit- |
|||
ical protest. I said, ‘No, there are no political parties behind this movement’ as my understanding |
|||
of what politics could be was limited. We were just an ‘apolitical generation’ who rebelled out of |
|||
nowhere, surprising the entire country. |
|||
After 7 years, I’m still trying to figure out how and why we managed to come together. Surely pro- |
|||
tecting a green area that belonged to our home, protecting friends and the increasing level of op- |
|||
pression were the instinctive push points but my real question is: how did the spirit of Gezi Park |
|||
come to life? |
|||
|
|||
The park brought together people from different economic backgrounds, ethnicities and beliefs, |
|||
manifesting the idea that when we stand together we are heard. And our voice carried all the tunes, |
|||
rhythms and stories of Turkey. To analyze this historic moment, I’ve been listening closely to the |
|||
echoes of this voice through researching cultural and folkloric production in the history of this |
|||
land. I asked myself: Could the accumulation of these voices and words be the forming substances |
|||
of Gezi Spirit? What kind of knowledge do we inherit from the land we feel rooted in? Which are |
|||
the stories we were raised with and how did they shape our perception of the world and ‘other’ |
|||
people we share it with? |
|||
|
|||
Learning and unlearning the tenets of our upbringing is a process of growth. At the park, we wit- |
|||
nessed the clash of all the false and accurate knowledge we were introduced to throughout our |
|||
lives. This clash brought us a little closer to the understanding of what is political and how we can |
|||
have a voice in it while building an idea of a different future. Starting this research was not easybecause history is always somehow mystified and obscured. It feels like looking down into a well |
|||
with twinkling eyes and trying to see the bottom. Looking at myself on the fluctuating deep dark |
|||
surface, I started to ask simple questions about my own history. I looked at memories and mo- |
|||
ments of growth that could shed light on what direction I should take after the protests. I started |
|||
listening back to the songs of my childhood which I had memorized without questioning their |
|||
meaning or understanding when I heard people chanting them. I realized that most of them were |
|||
originally poems and that by following such cultural productions I had accessed an abundance of |
|||
alternative streams of knowledge that were previously hidden to me. |
|||
Poetry and music start their journey together and develop in parallel with each other, rooting into |
|||
the culture. The first Turkish poets were shamans, of the nomad Turkish communities, whom were |
|||
called Kam, Baksı, Ozan alongside many other names. These shamanic figures were often wander- |
|||
ers or minstrels who traveled with their instruments from land to land, chanting their own poems |
|||
and those of their predecessor. They were storytellers who narrated with poetry, music, dance and |
|||
plays. Such practices are common in many cultures around the world and although the societies |
|||
and beliefs went through significant changes over time, this method of carrying knowledge re- |
|||
mained part of everyday life.<p></p> |
|||
|
|||
<p id="textdadaloglu"> |
|||
Kalktı Göç Eyledi Avşar Elleri,<br> |
|||
Ağır Ağır Giden Eller Bizimdir.<br> |
|||
Arap Atlar Yakın Eder ırağı,<br> |
|||
Yüce Dağdan Aşan Yollar Bizimdir.<br> |
|||
/<br> |
|||
Rised and migrated the Avşar tribes,<br> |
|||
The folk slowly moving is ours.<br> |
|||
Arabic horses render the distances close,<br> |
|||
The paths overrunning the mighty mountains are ours.<br> |
|||
|
|||
<i>Dadaloğlu’s (18th cc) epical folk poem was chanted by Ruhi Su in 1960’s</i></p> |
|||
|
|||
<p>Islam started spreading through similar traditions of folkloric chanting and poetry migrating from |
|||
regions today known as Iran (Horasan) and Afghanistan. In time, many nomadic tribes of Central |
|||
Asia started abandoning their polytheistic beliefs, like the shamanic belief Tengrism 2 , and started |
|||
joining Islam. In this process Islam became greatly influenced by previous belief systems and |
|||
merged in their ritualistic way of relating with nature and the world beyond. The teachings of the |
|||
Sufi leaders, were being carried through dervish followers and minstrels called Ashik who usedsimilar instruments and poetic forms as old shamans. Through these figures who improvised and |
|||
chanted stories of the past and present, Islamic myths and epic stories started spreading in Anato- |
|||
lia. When Ottoman rule first started spreading through the region (13 th century), they joined forces |
|||
with other Turkic dominions and gradually became a powerful empire. The newly-built Sufi |
|||
schools and trained minstrels had a key role in educating people and spreading the school's specific |
|||
rhetoric. Some of the guiding figures and masters of this process were famous Islamic thinkers and |
|||
folk poets such as Yunus Emre, Mevlana Celaleddin Rumi and Hacı Bektaş-i Veli. |
|||
A similar version of this musical chanting practice along with poetry made its way into the Ot- |
|||
toman Palace and helped create the Ottoman classical music with the initiative of Sultans from dif- |
|||
ferent eras. In the palace, men were taught at the Enderun (Palace) School and women received |
|||
musical training at the Harem of Topkapı Palace. These two paths of music and literature, in folk- |
|||
lore production and in palace music, led my curiosity and this research through different parts of |
|||
history. While researching about the history of palace music, I learned about the involvement of |
|||
female musicians, poets and their increased presence in the public sphere with the arrival of mod- |
|||
ernism. For this essay, I follow the path of folkloric production which relates to the current political |
|||
issues and represents different ethnic communities of Anatolia. My family does not belong to a mi- |
|||
nority group of Turkey but growing up in a diverse and historic city like Istanbul, one becomes |
|||
aware of the misinformation we are taught within the education system. This type of history telling, |
|||
which glorifies nationalistic qualities, is common all around the world and eliminates stories of mi- |
|||
norities and critical thinking methods. To emancipate myself and my practice, it is meaningful to |
|||
investigate the past through folkloric production that has reached our present day. Following Ashik |
|||
traditions 3 and practices has been helping me to travel in time and listen to the stories of people |
|||
from different centuries. This tradition which has been taught and transferred through mentoring, |
|||
allows this volatile knowledge 4 to flow and continue reaching different audiences.</p> |
|||
Bize de Banaz'da Pir Sultan derler |
|||
Bizi de kem kişi bellemesinler |
|||
Paşa hademine tembih eylesin |
|||
Kolum çekip elim bağlamasınlar |
|||
Hüseyin Gazi Sultan binsin atına |
|||
Dayanılmaz çarh-ı felek zatına |
|||
Bizden selâm söylen ev külfetineÇıkıp ele karşı ağlamasınlar |
|||
/ |
|||
They call me Pir Sultan in Banaz |
|||
Do not suppose I’m the sinister one |
|||
Pasha should advice his servants |
|||
Not to pull my arm and tie my hands |
|||
May Hüseyin Gazi Sultan* ride his horse |
|||
Irresistible to his çarh-ı felek** self |
|||
Send our salutes to the burdened household |
|||
They should not shed tears in presence of strangers |
|||
*An important Islamic war hero celebrated by the Bektaş-i Alevi community) |
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**The navy rifle that turns and sparks when lit |
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-Pir Sultan Abdal’s poem was chanted by Ashik Veysel in 1961 |
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</p> |
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In Anatolian lands, when the majority of people converted to Islam, it influenced the language and |
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the way people related to their entourage. Gradually, the Islamic lodges became institutional enti- |
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ties with political power within the Ottoman Empire. Specially the lodge of Hacı Bektaş-ı Veli had |
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central importance for the Alevi 5 communities with the Ashik tradition playing a key role in com- |
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municating their beliefs and world views. For instance, Pir Sultan Abdal, a dervish and poet, fol- |
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lower of Hacı Bektaş-ı Veli, became a political figure and defended social equality with a critical |
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approach towards the Ottoman Empire. In fact, in Turkey, Alevi culture is often associated with |
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socialist ideologies due to the similarities in their approach to commonality and has been systemat- |
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ically silenced for expressing critical views or starting riots against authority. The oppressive atti- |
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tude of the ruling authorities towards Alevi communities has continued long since the collapse of |
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the Empire. |
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After this fall of the Ottoman Empire following the 1st World War, folk of Anatolia, with different |
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ethnicities and cultures, came together in order to save the land from western colonizers and fight |
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the War of Independence with the leadership of Atatürk, the founder of the Republic of Turkey. |
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The republic settled after negotiations with the invaders and reforms were made terminating reli- |
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gious tariqas 6 in order to start a new secular state. The intention of unifying people, led the new |
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state to evolve around nationalistic ideologies which gradually eliminated the diverse fabric of the |
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land. This orientation reflected on the themes of anthems and torch songs that narrated epics |
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about the independence war and glorified the ‘Turkic’ nation. These ideologies were propagated |
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faster around the country with the arrival of new sound recording technologies (gramophones,phonographs) and communication lines (telegraph, radio). However, despite the first radio broad- |
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casting starting in 1927, it was only after the 1950’s that radio and the nationalistic propaganda it |
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brought along was able to reach all regions of central Anatolia. The westernization in music had |
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already started in the last decades of Ottoman Empire with European notation techniques being |
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introduced to archive songs composed in the palace. During the first years of the new republic, ra- |
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dio broadcasts had an important role in spreading the reforms of westernization and educating the |
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rural (folk) population. Even though Turkey was a free republic, the geopolitical position of the |
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country alongside its urgent need to catch up with new technologies and the remaining debts of the |
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Ottoman rendered it vulnerable towards cultural colonization. With the aim of defining the identity |
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of ‘national music’, from 1926 till the end of the 1940’s trips were organized to archive (notate, |
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record on vinyl) the folkloric production in Anatolia. The archived content was used to teach west- |
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ern educated musicians to perform folkloric tunes on a few of the radio programs that transmitted |
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folk music. At times, these programs invited Ashik figures to play live. Ashik Veysel, one of the |
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most famous Ashik of the late Ottoman and early Republic times, was the only Ashik with Alevi |
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roots to be played on the radio. Even though in the 1930’s he was titled as the national poet of the |
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state, his Alevi roots, were still not recognized. In the 1940’s he was teaching to play cura at several |
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Village Institutes 7 (1942-1947) where he encountered Ruhi Su and many other musicians and intel- |
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lectuals from Istanbul. |
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<p id="textmuharrem"> |
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The cultural production of those years can serve as a recording of the political climate around the |
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country. Starting from the 1950’s the western educated musicians, like Ruhi Su, Tülay German, |
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Sümeyra Çakır or Fikret Kızılok, in order to stay connected to their roots, started combining folk- |
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loric tunes and themes with popular western instruments and methods. While Tülay German |
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adopted folklore songs into jazz tunes and collaborated with Ashiks that migrated to the city, Fikret |
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Kızılok went to study with Ashik Veysel in Anatolia and made records with the songs of his mentor.</p> |
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|
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This new approach was the result of the emigration of Anatolian folk (especially the minorities) to- |
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wards big cities to work in factories or study at the universities and technical schools. The universi- |
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ties became the meeting point for western educated city youth and the Anatolian youth who were |
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brought up with local traditions. This possibility of exchange created a synthesis of ideas, traditions |
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and culture which shaped the political solidarity groups. Influenced by neighboring Soviet Union,leftist movements sided with the Kurdish and Alevi people who already had a history of disobedi- |
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ence and used their traditional cultural production to propagate ideas of equality. These groups |
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were showing resistance to the economic sanctions of the U.S. who had been providing financial |
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support to Turkey and to do so, they were using the folkloric language which created a bridge be- |
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tween intellectuals, factory workers (in Turkey and in Europe) and farmers of the rural areas. |
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|
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Şenlik dağıldı bir acı yel kaldı bahçede yalnız |
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O mahur beste çalar Müjgan’la ben ağlaşırız |
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Gitti dostlar şölen bitti ne eski heyecan ne hız |
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Yalnız kederli yalnızlığımızda sıralı sırasız |
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O mahur beste çalar Müjgan’la ben ağlaşırız |
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Bir yangın ormanından püskürmüş genç fidanlardı |
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Güneşten ışık yontarlardı sert adamlardı |
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Hoyrattı gülüşleri aydınlığı çalkalardı |
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Gittiler akşam olmadan ortalık karardı |
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Bitmez sazların özlemi daha sonra daha sonra |
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Sonranın bilinmezliği bir boyut katar ki onlara |
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Simsiyah bir teselli olur belki kalanlara |
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Geceler uzar hazırlık sonbahara |
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/ |
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The carnival has dispersed only a bitter breeze remained in the garden |
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That Mahur tune plays Müjgan and I keep weeping |
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Friends are gone the feast has ended old thrills are no more nor is the haste |
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Solely mournful in our loneliness timely untimely |
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That Mahur tune plays Müjgan and I keep weeping |
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Young saplings they were erupted from a forest of fire |
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They would sculpt the light from the sun they were tough men |
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Their laughters were wild shaking the brightness of the day |
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As they left it all went dark before the evening came |
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The longing of the curas will not end then and then |
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The obscurity of the afterwards adds a dimension to them |
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And perhaps they become a pitch black solace for the ones left behind |
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Nights are getting longer preparation is for the fall |
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Atilla İlhan’s poem, Mahur 8 (1972) was composed by Ahmet Kaya in 1993 |
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The resistance included many intellectuals and cultural workers who persistently retold the politi- |
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cal history of their land through poetry. Musicians who had adopted the folkloric traditions, used |
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the same method to pass on this knowledge and started to compose contemporary poetry into |
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songs. Poems of leftist intellectuals like Nazım Hikmet, Ahmed Arif, Atilla İlhan and many more |
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continued to be composed for decades by famous musicians in response to the local and global pol-itics. Still today young musicians, jazz soloists, rappers and pop singers voice the songs of famous |
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Ashik figures or folkloric ballads in various styles and spread the voice of the ‘other’ around the |
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world. These songs carry not only the tunes and world view of important intellectuals but also their |
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struggle and pain caused by political exiles, imprisonments, tortures and executions in different |
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stages in history. The poems telling folkloric stories continue living in songs, and reaching new |
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generations of youth that continue chanting them for future generations. I would like to think of it |
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as a cycle of growth that happens in our collective consciousness, that suddenly surfaces in mo- |
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ments like the Gezi Park Occupation. To contribute to this growth I share my research and through |
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my practice I bring forward poems, poets and composers that continue to teach me about this col- |
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lective past. |
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Gezi Park 1 : In 1806, where Gezi Park is located now, Ottoman Military Barracks were built. In 1939, after a process of |
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abandonment of the structure, it was demolished along with the Armenian grave yard that dated back to 1560. The aim of |
|||
this change was to plan a modern, ’healthy’ city with green areas, near the residential districts to be built. |
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Tengrism 2 : is a shamanistic religion practiced in Central Asia. It is characterized by shamanism, totemism, and ani- |
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mism. It is both monotheistic and polytheistic. Ancestor worship is also a big part of Tengriism. - https://www.discover- |
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mongolia.mn/blogs/the-ancient-religion-of-tengriism - |
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Ashik tradition 3 : Ashik are traveling bards with a string instrument. Their knowledge is passed on through mentoring. |
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Volatile Knowledge 4 : For further expansion on this term in relation to my practice see Kılıçer, M (2019) ‘Volitional |
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Volutions of the Volatile Waters’ on www.mervekilicer.com |
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Alevi 5: Alevism is a branch of Shi’a Islam that is practiced in Turkey and the Balkans among ethnic Turks and Kurds. |
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Alevis make up 20% of Turkish Muslims and comprise Turkey’s largest religious minority community. - https://rlp.hd- |
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s.harvard.edu/faq/alevism |
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Village Institute 6 a set of schools in the rural areas of Anatolia, gathered children from near by villages to teach both |
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western and eastern/local knowledge. They aimed to develop a basic level of education and raise teachers for the society |
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of the newly established republic. These institutes were terminated with the demand of U.S. because of their socialist |
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structures. |
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Tariqa(t) 7: T he Sufi doctrine or path of spiritual learning. |
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Mahur 8 One of the systems of melody types used in Arabic, Persian and Turkish classical music. - Wikipedia -Bibliography |
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Books |
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Kafadar, C., 2017, Kendine Ait Bir Roma - Diyar-ı Rum’da Kültürel Coğrafya ve Kimlik Üzerine. Istanbul: Metis Publish- |
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ing |
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Ortaylı, İ., 2008, Tarihimiz ve Biz, 15nd ed., 2018, Istanbul: Timaş Publishing |
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Sayın, Z., 2016, Kötülük Cemaatleri. Istanbul: Tekhne Publishing |
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Articles, catalogues and compilations |
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-Alpyıldız, E., 2012, Yerelden ulusala taşınan müzik belleği ve yurttan sesler. Milli Folklor, year 24, issue 96 |
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-Ayas, O. G., 2014, Kemalist Oryantalizm ve Osmanlı-Türk Müziği. Muhafazakar Düşünce, pg. 189-212 |
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-Azar,B., 2007, Sözlü kültür geleceği açışından türk saz şiiri. Fırat University Journal of Social Science, Volume: 17, Nr: 2, |
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pg: 119-133. Elazığ |
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-Bars, Mehmet Emin, 2018, Şamanizmden Tasavvufa. Türkbilig, Nr. 36, pg: 167-186. |
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-Başer, F.A., 2006, Türk halk ve klasik müziklerinin oluşum ve ilişkilerine tarihten bakmak-1. Uluslararası insan bilimleri |
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dergisi, ISSN: 1303-5134 |
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-Erensü, S. and Karaman, O. (2017). The Work of a Few Trees: Gezi, Politics and Space. International Journal of Urban |
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and Regional Research, 41(1), pp.19-36. |
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-DEPO (Catalogue of exhibition and lecture series), 2012, Kind of Electricity Appeared in Outer Space: Musical Turkey in |
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the 1960’s. Istanbul: Anadolu Kültür/Depo |
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N., 2016,Pir Sultan Abdal’ın bir mecmuada yer alan şiirleri I, (Pir Sultan Abdal’s poem in a journal I). |
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-Kaya, H , Çeti n, |
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HUMANITAS - Uluslararası Sosyal Bilimler Dergisi , 4 (8) , 131-156 . DOI: 10.20304/humanitas.277542 |
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-Koç, N., 2012, Cumhuriyet’in ilk yıllarında radyo. Cumhuriyet Tarihi Araştırmaları Dergisi, Year:8, Issue: 15. |
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ISSN: 1305-1458 E-ISSN: 2147-1592 |
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-Kuloğlu, Ü., 2009, Müzik: Türklerin anadolu öncesi müzik gelenekleri ve islamiyet etkisi. T.C. Kültür ve Turizm Bakan- |
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lığı Türkiye Kültür Portalı Projesi, Ankara |
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-Özdamar, F., 2014, Dede Korkut Kitabı’nın çağdaş müzik sanatçıları üzerindeki tesiri. Mili Folklor, Year 26, Nr: 101. |
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ISSN 2146-8087 |
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-Sarı, Ç.G., 2013, Osmanlı’dan Cumhuriyet’e kadın müzisyenler: Taş plak geleceğinde Lale ve Nerkis Hanımlar CD’si. |
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Toplumsal Cinsiyet, Nr:6 |
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-Tarih Magazine, #1, 2014. Stüdyo Yapım-Proje - Gezi 1 year anniversary print |
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-Türk Folkloru Araştırmaları Yıllığı, 1975, Ankara University Publishing House, Ankara |
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-Uluskan, Seda Bayındır, 2010, Atatürk’ün sosyal ve kültürel politikaları. Ankara: AKDTYK Atatürk Araştırma Merkezi |
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Links |
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-https://vimeo.com/bibak |
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-http://www.ottomanhistorypodcast.com/ |
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-http://gezimusic.tumblr.com/ |
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-https://blog.iae.org.tr/sergiler/taksim-gezi-parkinin-tarihcesi-http://www.rusen.org/konargocer-turkler-kim/ |
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-https://www.alevibektasi.eu/ |
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-http://www.musikidergisi.net/ |
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-http://teis.yesevi.edu.tr/madde-detay/asik-veysel-satiroglu |
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Reference in new issue