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- - - - - -

bha -

etc -

hello

-
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\ No newline at end of file diff --git a/static/js/test.json b/static/js/test.json deleted file mode 100644 index d62e3ab..0000000 --- a/static/js/test.json +++ /dev/null @@ -1,51 +0,0 @@ -{ - "nodes": [ - { - "name": "Dadaloglu", - "group": 1, - "id":"dadaloglu" - }, - { - "name": "Muharrem Ertas", - "group": 1, - "id":"muharrem" - }, - { - "name": "Karacaoğlan", - "group": 2, - "id":"karacaoglan" - }, - { - "name": "Ruhi Sun", - "group": 2, - "id":"ruhi" - }, - { - "name": "Aşık Veysel", - "group": 2, - "id":"asik" - } - ], - "links": [ - { - "source": 1, - "target": 0, - "value": 1 - }, - { - "source": 3, - "target": 2, - "value": 1 - }, - { - "source": 3, - "target": 4, - "value": 1 - }, - { - "source": 3, - "target": 0, - "value": 1 - } - ] -} diff --git a/templates/perspectiveA.html b/templates/perspectiveA.html deleted file mode 100644 index 8b338ee..0000000 --- a/templates/perspectiveA.html +++ /dev/null @@ -1,115 +0,0 @@ - - - - - - - - Gas - - -
-
- - -
-
- -
-
- -
- - -
- × - -
- -
- -
- - - - -
- - - - - - - - - - diff --git a/templates/perspectiveB.html b/templates/perspectiveB.html deleted file mode 100644 index 7f88690..0000000 --- a/templates/perspectiveB.html +++ /dev/null @@ -1,93 +0,0 @@ - - - - - - - - - - - -Liquid - - - -
- test -
- -
- test -
- -
- test -
- - -
- test -
- -
- test -
- -
- test -
- - - - - - - - - - diff --git a/templates/perspectiveC.html b/templates/perspectiveC.html deleted file mode 100644 index c99158b..0000000 --- a/templates/perspectiveC.html +++ /dev/null @@ -1,30 +0,0 @@ - - - - - - - - - Solid - - -
-poem -
-
-poem -
-
Play
-
-
    -
  • Strophe 1
    • -
  • Strophe 2
    • -
  • Strophe 3
    • -
  • Strophe 4
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-
- - - - diff --git a/wells/index.html b/wells/index.html new file mode 100644 index 0000000..8fec315 --- /dev/null +++ b/wells/index.html @@ -0,0 +1,414 @@ + + +VVVW + + + + + + + + + + + + + +
+
+
+
+ +
+
+
+

Map legend

+ +
+

Folklore literature

+

Islamic Mysticism

+

Contemporary poets

+

Contemporary musicians

+
+
+
+
+
+
+
+
+
+

Wells of Knowledge:

Streams of poetry, music and resistance in Turkey

+

Merve Kılıçer

+

“If history writing does not emancipate, it must be serving tyranny.” + Cemal Kafadar, ‘Kendine ait bir Roma’, pg.1

+

+ 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.

+ +

+ Kalktı Göç Eyledi Avşar Elleri,
+ Ağır Ağır Giden Eller Bizimdir.
+ Arap Atlar Yakın Eder ırağı,
+ Yüce Dağdan Aşan Yollar Bizimdir.
+ /
+ Rised and migrated the Avşar tribes,
+ The folk slowly moving is ours.
+ Arabic horses render the distances close,
+ The paths overrunning the mighty mountains are ours.
+ + Dadaloğlu’s (18th cc) epical folk poem was chanted by Ruhi Su in 1960’s

+ +

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.

+ 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) + **The navy rifle that turns and sparks when lit + -Pir Sultan Abdal’s poem was chanted by Ashik Veysel in 1961 +

+

+ In Anatolian lands, when the majority of people converted to Islam, it influenced the language and + the way people related to their entourage. Gradually, the Islamic lodges became institutional enti- + ties with political power within the Ottoman Empire. Specially the lodge of Hacı Bektaş-ı Veli had + central importance for the Alevi 5 communities with the Ashik tradition playing a key role in com- + municating their beliefs and world views. For instance, Pir Sultan Abdal, a dervish and poet, fol- + lower of Hacı Bektaş-ı Veli, became a political figure and defended social equality with a critical + approach towards the Ottoman Empire. In fact, in Turkey, Alevi culture is often associated with + socialist ideologies due to the similarities in their approach to commonality and has been systemat- + ically silenced for expressing critical views or starting riots against authority. The oppressive atti- + tude of the ruling authorities towards Alevi communities has continued long since the collapse of + the Empire. + After this fall of the Ottoman Empire following the 1st World War, folk of Anatolia, with different + ethnicities and cultures, came together in order to save the land from western colonizers and fight + the War of Independence with the leadership of Atatürk, the founder of the Republic of Turkey. + The republic settled after negotiations with the invaders and reforms were made terminating reli- + gious tariqas 6 in order to start a new secular state. The intention of unifying people, led the new + state to evolve around nationalistic ideologies which gradually eliminated the diverse fabric of the + land. This orientation reflected on the themes of anthems and torch songs that narrated epics + about the independence war and glorified the ‘Turkic’ nation. These ideologies were propagated + 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- + casting starting in 1927, it was only after the 1950’s that radio and the nationalistic propaganda it + brought along was able to reach all regions of central Anatolia. The westernization in music had + already started in the last decades of Ottoman Empire with European notation techniques being + introduced to archive songs composed in the palace. During the first years of the new republic, ra- + dio broadcasts had an important role in spreading the reforms of westernization and educating the + rural (folk) population. Even though Turkey was a free republic, the geopolitical position of the + country alongside its urgent need to catch up with new technologies and the remaining debts of the + Ottoman rendered it vulnerable towards cultural colonization. With the aim of defining the identity + of ‘national music’, from 1926 till the end of the 1940’s trips were organized to archive (notate, + record on vinyl) the folkloric production in Anatolia. The archived content was used to teach west- + ern educated musicians to perform folkloric tunes on a few of the radio programs that transmitted + folk music. At times, these programs invited Ashik figures to play live. Ashik Veysel, one of the + most famous Ashik of the late Ottoman and early Republic times, was the only Ashik with Alevi + roots to be played on the radio. Even though in the 1930’s he was titled as the national poet of the + state, his Alevi roots, were still not recognized. In the 1940’s he was teaching to play cura at several + Village Institutes 7 (1942-1947) where he encountered Ruhi Su and many other musicians and intel- + lectuals from Istanbul.

+

+ The cultural production of those years can serve as a recording of the political climate around the + country. Starting from the 1950’s the western educated musicians, like Ruhi Su, Tülay German, + Sümeyra Çakır or Fikret Kızılok, in order to stay connected to their roots, started combining folk- + loric tunes and themes with popular western instruments and methods. While Tülay German + adopted folklore songs into jazz tunes and collaborated with Ashiks that migrated to the city, Fikret + Kızılok went to study with Ashik Veysel in Anatolia and made records with the songs of his mentor.

+

+ This new approach was the result of the emigration of Anatolian folk (especially the minorities) to- + wards big cities to work in factories or study at the universities and technical schools. The universi- + ties became the meeting point for western educated city youth and the Anatolian youth who were + brought up with local traditions. This possibility of exchange created a synthesis of ideas, traditions + 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- + ence and used their traditional cultural production to propagate ideas of equality. These groups + were showing resistance to the economic sanctions of the U.S. who had been providing financial + support to Turkey and to do so, they were using the folkloric language which created a bridge be- + tween intellectuals, factory workers (in Turkey and in Europe) and farmers of the rural areas. +

+

+ Şenlik dağıldı bir acı yel kaldı bahçede yalnız + O mahur beste çalar Müjgan’la ben ağlaşırız + Gitti dostlar şölen bitti ne eski heyecan ne hız + Yalnız kederli yalnızlığımızda sıralı sırasız + O mahur beste çalar Müjgan’la ben ağlaşırız + Bir yangın ormanından püskürmüş genç fidanlardı + Güneşten ışık yontarlardı sert adamlardı + Hoyrattı gülüşleri aydınlığı çalkalardı + Gittiler akşam olmadan ortalık karardı + Bitmez sazların özlemi daha sonra daha sonra + Sonranın bilinmezliği bir boyut katar ki onlara + Simsiyah bir teselli olur belki kalanlara + Geceler uzar hazırlık sonbahara + / + The carnival has dispersed only a bitter breeze remained in the garden + That Mahur tune plays Müjgan and I keep weeping + Friends are gone the feast has ended old thrills are no more nor is the haste + Solely mournful in our loneliness timely untimely + That Mahur tune plays Müjgan and I keep weeping + Young saplings they were erupted from a forest of fire + They would sculpt the light from the sun they were tough men + Their laughters were wild shaking the brightness of the day + As they left it all went dark before the evening came + The longing of the curas will not end then and then + The obscurity of the afterwards adds a dimension to them + And perhaps they become a pitch black solace for the ones left behind + Nights are getting longer preparation is for the fall + Atilla İlhan’s poem, Mahur 8 (1972) was composed by Ahmet Kaya in 1993

+

+ The resistance included many intellectuals and cultural workers who persistently retold the politi- + cal history of their land through poetry. Musicians who had adopted the folkloric traditions, used + the same method to pass on this knowledge and started to compose contemporary poetry into + songs. Poems of leftist intellectuals like Nazım Hikmet, Ahmed Arif, Atilla İlhan and many more + 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 + Ashik figures or folkloric ballads in various styles and spread the voice of the ‘other’ around the + world. These songs carry not only the tunes and world view of important intellectuals but also their + struggle and pain caused by political exiles, imprisonments, tortures and executions in different + stages in history. The poems telling folkloric stories continue living in songs, and reaching new + generations of youth that continue chanting them for future generations. I would like to think of it + as a cycle of growth that happens in our collective consciousness, that suddenly surfaces in mo- + ments like the Gezi Park Occupation. To contribute to this growth I share my research and through + my practice I bring forward poems, poets and composers that continue to teach me about this col- + lective past.

+ Gezi Park 1 : In 1806, where Gezi Park is located now, Ottoman Military Barracks were built. In 1939, after a process of + 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. + Tengrism 2 : is a shamanistic religion practiced in Central Asia. It is characterized by shamanism, totemism, and ani- + mism. It is both monotheistic and polytheistic. Ancestor worship is also a big part of Tengriism. - https://www.discover-mongolia.mn/blogs/the-ancient-religion-of-tengriism - + Ashik tradition 3 : Ashik are traveling bards with a string instrument. Their knowledge is passed on through mentoring. + Volatile Knowledge 4 : For further expansion on this term in relation to my practice see Kılıçer, M (2019) ‘Volitional + Volutions of the Volatile Waters’ on www.mervekilicer.com + Alevi 5: Alevism is a branch of Shi’a Islam that is practiced in Turkey and the Balkans among ethnic Turks and Kurds. + Alevis make up 20% of Turkish Muslims and comprise Turkey’s largest religious minority community. - https://rlp.hd- + s.harvard.edu/faq/alevism + Village Institute 6 a set of schools in the rural areas of Anatolia, gathered children from near by villages to teach both + western and eastern/local knowledge. They aimed to develop a basic level of education and raise teachers for the society + of the newly established republic. These institutes were terminated with the demand of U.S. because of their socialist + structures. + Tariqa(t) 7: T he Sufi doctrine or path of spiritual learning. + Mahur 8 One of the systems of melody types used in Arabic, Persian and Turkish classical music. - Wikipedia -Bibliography + Books + Kafadar, C., 2017, Kendine Ait Bir Roma - Diyar-ı Rum’da Kültürel Coğrafya ve Kimlik Üzerine. Istanbul: Metis Publish- + ing + Ortaylı, İ., 2008, Tarihimiz ve Biz, 15nd ed., 2018, Istanbul: Timaş Publishing + Sayın, Z., 2016, Kötülük Cemaatleri. Istanbul: Tekhne Publishing + Articles, catalogues and compilations + -Alpyıldız, E., 2012, Yerelden ulusala taşınan müzik belleği ve yurttan sesler. Milli Folklor, year 24, issue 96 + -Ayas, O. G., 2014, Kemalist Oryantalizm ve Osmanlı-Türk Müziği. Muhafazakar Düşünce, pg. 189-212 + -Azar,B., 2007, Sözlü kültür geleceği açışından türk saz şiiri. Fırat University Journal of Social Science, Volume: 17, Nr: 2, + pg: 119-133. Elazığ + -Bars, Mehmet Emin, 2018, Şamanizmden Tasavvufa. Türkbilig, Nr. 36, pg: 167-186. + -Başer, F.A., 2006, Türk halk ve klasik müziklerinin oluşum ve ilişkilerine tarihten bakmak-1. Uluslararası insan bilimleri + dergisi, ISSN: 1303-5134 + -Erensü, S. and Karaman, O. (2017). The Work of a Few Trees: Gezi, Politics and Space. International Journal of Urban + and Regional Research, 41(1), pp.19-36. + -DEPO (Catalogue of exhibition and lecture series), 2012, Kind of Electricity Appeared in Outer Space: Musical Turkey in + the 1960’s. Istanbul: Anadolu Kültür/Depo + N., 2016,Pir Sultan Abdal’ın bir mecmuada yer alan şiirleri I, (Pir Sultan Abdal’s poem in a journal I). + -Kaya, H , Çeti n, + HUMANITAS - Uluslararası Sosyal Bilimler Dergisi , 4 (8) , 131-156 . DOI: 10.20304/humanitas.277542 + -Koç, N., 2012, Cumhuriyet’in ilk yıllarında radyo. Cumhuriyet Tarihi Araştırmaları Dergisi, Year:8, Issue: 15. + ISSN: 1305-1458 E-ISSN: 2147-1592 + -Kuloğlu, Ü., 2009, Müzik: Türklerin anadolu öncesi müzik gelenekleri ve islamiyet etkisi. T.C. Kültür ve Turizm Bakan- + lığı Türkiye Kültür Portalı Projesi, Ankara + -Özdamar, F., 2014, Dede Korkut Kitabı’nın çağdaş müzik sanatçıları üzerindeki tesiri. Mili Folklor, Year 26, Nr: 101. + ISSN 2146-8087 + -Sarı, Ç.G., 2013, Osmanlı’dan Cumhuriyet’e kadın müzisyenler: Taş plak geleceğinde Lale ve Nerkis Hanımlar CD’si. + Toplumsal Cinsiyet, Nr:6 + -Tarih Magazine, #1, 2014. Stüdyo Yapım-Proje - Gezi 1 year anniversary print + -Türk Folkloru Araştırmaları Yıllığı, 1975, Ankara University Publishing House, Ankara + -Uluskan, Seda Bayındır, 2010, Atatürk’ün sosyal ve kültürel politikaları. Ankara: AKDTYK Atatürk Araştırma Merkezi + Links + -https://vimeo.com/bibak + -http://www.ottomanhistorypodcast.com/ + -http://gezimusic.tumblr.com/ + -https://blog.iae.org.tr/sergiler/taksim-gezi-parkinin-tarihcesi-http://www.rusen.org/konargocer-turkler-kim/ + -https://www.alevibektasi.eu/ + -http://www.musikidergisi.net/ + -http://teis.yesevi.edu.tr/madde-detay/asik-veysel-satiroglu + +
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