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index.html
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<!-- <img src="static/images/test_small.jpeg" alt="poem"> -->
<!-- popups about and colophon -->
<span id="closeall" onclick="closeall()">CLOSE ALL POPUPS</span>
<div id="showabout" class="draggable"><span onclick="this.parentElement.style.display='none'" class="topleft">&times</span><div><h2>Wells of Knowledge: Poetry, music and resistance in Turkey</h2><p>
This web platform is a publishing moment/fragment of the work "Volitional Volutions of the Volatile Waters" by Merve Kilicer. <br>
How can oral knowledge can be 'recorded', 'documented', 'transferred' through a digital online space? This is the question that drove the research behind this website, which has the map of connections as the main navigation point. The visualisation is inspired by the common history and references that people in Gezi Park shared during the 2013 occupation. Their presence together in the square became a melange of their different voices, slogans, poems and memories. "Could the accumulation of these voices and words be the forming substances of Gezi Spirit?"
<br>
Through the map, we give shape to a common context in Turkish culture. The map acts as an active archival space that gives the possibility to revisit the elements in a non-linear historical approach in relation to the written text and audio. </p>
<span id="closeall" onclick="closeall()">CLOSE ALL POP-UPS</span>
<div id="showabout" class="draggable"><span onclick="this.parentElement.style.display='none'" class="topleft">&times</span><div><h2>About</h2><p>
<p>This hybrid publication focuses on the transfer of knowledge through cultural production in the oral folkloric traditions of Anatolia. It consists of a poster-zine and online platform. The research was initiated to reflect on the Gezi Park Occupation (Istanbul, 2013) and tries to find the connecting points in history of politics through cultural production. By narrating the history of a specific geography, it invites the reader to question the influence of cultural heritage in the formation of one’s perception towards the world and ‘other’ people they share it with. </p>
<p> The online platform acts as an active archival space that gives the possibility to revisit the elements in a non-linear historical approach focusing on the transference of oral knowledge through musical and poetic practices of story telling. The names you see on the map represent a wider group of artists, musicians, writers and thinkers that Kılıçer encountered through the process of her research. The online platform creates a well of accessible knowledge gathered mostly through open sources. Short bibliographic information about contributors of this knowledge and their proximity to or influence on other artists can be met through this online space that support the narration of the article ‘Wells of Knowledge: Poetry, Music and Resistance in Turkey’.</p>
<p>
The platform is envisioned as an interactive, growing networked map that can create different narrative paths for the reader to navigate. The creation of this accumulation point is an invitation for a learning process both for the reader and researcher. The physical poster-zine holds a visual fragment of the research with a collage of old photographs and Kılıçer’s drawings originally produced for the installation piece “Volitional Volutions of the Volatile Waters” (2019). The audio tracks that accompany the map categories was also produced as part of the same installation piece. To reach more information about this work, you can visit: <a href="https://mervekilicer.com/volitional-volutions-of-the-volatile-waters/" target="_blank">https://mervekilicer.com/volitional-volutions-of-the-volatile-waters/</a>
</p>
<p>
Credits for the sound track</p>
<p>
<i>Körleşme / Going Blind</i><br>
poem by Gülten Akın<br>
Voice - Ulufer Çelik, Merve Kılıçer</p>
<p><i>Zaman Yer Sonra / Time Place After</i><br>
poem by Nilgün Marmara<br>
Voice - Ulufer Çelik</p>
<p><i>Anlatamam Derdimi / I can’t Talk About My Suffering</i><br>
by Aşık Veysel<br>
in his own voice</p>
<p>
<i>Geçer / Shall Pass</i><br>
by Neyzen Tevfik<br>
in his own voice</p>
<p>
<i>Dere Akar Bulanık / The Stream Runs Blurry</i><br>
Ballad<br>
Sung by Sümeyra</p>
<p><i>Ömrüm Bitirmiş Viranemiyem /</i><br>
by Hz. Aşkî<br>
composed by Abdullah El Ferec English rendition: CISS/Rifai Sufi Order</p>
<p>
<i>Sufism is Love of God</i><br>
Talk by Murat Coşkun<br>
The Canadian Institute of Sufi Studies</p>
<p>
The voice and music of Sümeyra Çakır, Ali Ekber Çiçek, Derviş Abdullah Efendi, Neyzen Tevfik Bey, Tamburi Cemil Bey, Udi Nevres Bey, Gülce Oral, Gezi Park protesters, street performers from Berlin and Istanbul are sampled for the sound installation.</p>
<p>
Poems and songs are translated with the collective effort of Ulufer Çelik, Merve Kılıçer, Gülce Oral, and Nihan Somay.</p>
</div>
</div><br>
<div id="showcolophon" class="draggable"><span onclick="this.parentElement.style.display='none'" class="topleft">&times</span><div><h2>Colophon</h2>
<p>
Wells of Knowledge: Poetry, Music and Resistance in Turkey
© 2020 at.wdka.nl/wellsofknowledge</p>
© 2020 <a href="at.wdka.nl/wellsofknowledge" target="_blank">at.wdka.nl/wellsofknowledge</a></p>
<p>
Developed by Hybrid Publishing,
Willem de Kooning Academy</p>
@ -120,10 +155,11 @@ Through the map, we give shape to a common context in Turkish culture. The map a
<p>ISBN: 9789492479112</p>
<p>Author: Merve Kılıçer</p>
<p>Graphic Design & Web Development: Angeliki Diakrousi
(https://w-­i-­t-­m.net/) and Alice Strete (https://alicestrete.me/)</p>
(<a href="https://w-­i-­t-­m.net/" target="_blank">https://w-­i-­t-­m.net/</a>) and Alice Strete (<a href="https://alicestrete.me/" target="_blank">https://alicestrete.me/</a>)</p>
<p>Editor: Liz Allan</p>
<p>Coordination: Kimmy Spreeuwenberg</p>
<p>Printer: De Raddraaier, Amsterdam<br>
<p>Details production poster-zine<br>
Printer: De Raddraaier, Amsterdam<br>
Paper: Old Mill/Bianco 100g<br>
Print Run: 300</p>
<p>Thanks for the generous support of Nihan Somay, Jake Caleb,
@ -138,7 +174,7 @@ Through the map, we give shape to a common context in Turkish culture. The map a
Hybrid Publishing fosters novel approaches to design, authoring,
reading and dissemination made possible through ongoing
developments from the legacies of Gutenberg’s press to present­day
technologies. (hybridpublishing.wdka.nl)</p>
technologies. (<a href="hybridpublishing.wdka.nl" target="_blank">hybridpublishing.wdka.nl</a>)</p>
<p>HP Research Awards<br>
The HP Research Awards series showcases the work of recipients
or nominees of the Willem de Kooning Research Award.
@ -146,7 +182,7 @@ Through the map, we give shape to a common context in Turkish culture. The map a
granted to outstanding students whose graduation projects and
research have helped provide new insights to broader audiences. For
a digital version of this and other publications, go to
at.wdka.nl/hpresearchawards</p>
<a href="at.wdka.nl/hpresearchawards" target="_blank">at.wdka.nl/hpresearchawards</a></p>
<img class="logo" src="static/images/HP_Logo.png"></img>
<img class="logo" src="static/images/wdka_logo.png"></img>
<img class="logo" src="static/images/pzi_logo.png"></img>
@ -159,7 +195,9 @@ Through the map, we give shape to a common context in Turkish culture. The map a
<p>
The map shows connections between various representatives in Turkish culture, be it poets, authors or musicians, traditional or contemporary.</p> <p>Each name is presented in relation to a song, a poem, an image, or a fragment of text or audio.</p>
<p>When clickling once on one of the names, various kinds of media appear in connection to that name. The colors represent different categories (Folklore literature, Islamic Mysticism, etc).</p>
<p> When double clicking, a name is isolated and displayed alongside its closest connections. </p><p>All the elements of the map can be rearranged and moved. </p></div>
<p> When double clicking, a name is isolated and displayed alongside its closest connections. </p><p>All the elements of the map can be rearranged and moved. </p>
<p>Sections of the map legend double as audio players which allow you to navigate through the audio track. Click and explore.</p>
</div>
</div>
<script src="static/js/d3_map.js"></script>

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font-size: 30px;
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@ -250,7 +250,11 @@ display: none;
color: black;
border:1px black solid;
background-color: white;
margin-left: 2px;
margin-left: 50%;
padding: 10px;
cursor: pointer;
font-family: 'Vesper Libre', serif;
}
/* text area */
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/* pop up */
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top:10%;
padding: 0.5%;
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@ -395,7 +399,7 @@ h2 {
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/* display: none; */
right: 10%;
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top:50%;
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@ -463,7 +461,7 @@ h2 {
/* about and colophon */
#menu {
margin-top: 15px;
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=======
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#about a {

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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, <i>"Kendine ait bir Roma"</i>, <sup>1</sup></i><br></p>
Cemal Kafadar, <i>A Rome of One’s Own</i>, <sup>1</sup></i><br></p>
<p>
In 2012, rumors started circulating about a shopping mall to be built in the place of Gezi Park<sup>2</sup> near Taksim Square in Istanbul. It had been a while since the park had been in good shape, but it was the last bit of green space in the concrete face of our cosmopolitan home. The redevelopment project was called “Taksim Yayalaştırma Projesi” (project for the pedestrianization of Taksim) and the ruling government of Adalet ve Kalkınma Partisi (justice and development party) was insistent on realizing it despite the opposition of Türk Mühendis ve Mimar Odaları Birliği (the union of engineering and architecture chambers) and organizations in solidarity against gentrification like Istanbul Kent Savunması (Istanbul city defence) and Taksim Dayanışması (Taksim solidarity). </p>
@ -111,62 +111,69 @@ Atilla İlhan, <i>“Mahur”</i><sup>14</sup>
The resistance included many intellectuals and cultural workers who persistently retold the political history of their land through poetry. Musicians who adopted folkloric traditions used these same methods to pass on this knowledge and started to compose contemporary poetry into songs. <span id="textnazim">Poems of leftist intellectuals like Nazım Hikmet,<span id="textahmedA"> Ahmed Arif, Atilla İlhan and <span id="textbuyuk"> many more <span id="textezhel">continued to be composed for decades </span> by famous musicians in response to the local and global politics.</span><span id="textceylan"> 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 voices of the Anatolian folk around the world </span>(see, for example, <span id="textselda">the works of Selda Bağcan</span>, Erkin Koray)</span>.</span> </p>
<p>
These songs carry not only the melodies and world views of important intellectuals but also the struggle and pain caused by political exiles, imprisonments, torture and executions in different stages of the history of Turkey. I would like to think of the telling of history through poetry and song as a cycle of growth that happens in our collective consciousness, and suddenly surfaces in moments like the Gezi Park Occupation. In this perspective, the spirit of Gezi Park is an accumulation of ideas and methods that flow through different streams of knowledge. It gets carried forward at moments and spaces of interaction by the audience, culture workers, and the creators who translate it to their era. </p>
<p>
The online map that you can reach through this publication creates a well of accessible knowledge gathered mostly through open sources. Short biographic information about names mentioned above and their proximity to or influence on other artists can be met through this online space. You can find more information about “Wells of Knowledge” at at.wdka.nl/wellsofknowledge </p>
<br>
<br>
<h2>Endnotes</h2>
<br>
<p><sup>1 </sup>Kafadar, C., Kendine Ait Bir Roma - Diyar-ı Rum’da Kültürel Coğrafya ve Kimlik Üzerine (on cultural geography and identity in a Roman - Greek land) (İstanbul: Metis Publishing, 2017).</p>
<p><sup>2 </sup>In 1806, where Gezi Park is located now, Ottoman Military Barracks were built. In 1939, after a process whereby the structure was abandoned, it was then demolished along with an Armenian graveyard that dated back to 1560. The aim of this change was to plan a Modern, so-called healthy city with green areas, near the planned residential districts. </p>
<p><sup>3 </sup>For the purposes of brevity, the occupation of Taksim Square and Gezi Park will subsequently be referred to as the Gezi Park Occupation.</p>
<p><sup>4 </sup>Anatolia is the western peninsula of Asia. It is bounded by the Black, Aegean, and Mediterranean Seas, and forms the greater part of Turkey.</p>
<p><sup>5 </sup>For further expansion on the term “volatile knowledge” in relation to my practice see Merve Kılıçer, “Volitional Volutions of the Volatile Waters,” www.mervekilicer.com. Last modified 2019. </p>
<p><sup>5 </sup>For further expansion on the term “volatile knowledge” in relation to my practice see Merve Kılıçer, “Volitional Volutions of the Volatile Waters,”<a href="www.mervekilicer.com" target="_blank"> www.mervekilicer.com</a>. Last modified 2019. </p>
<p><sup>6 </sup>This eighteenth-nineteenth century epic folk poem was chanted by the well-known musician Ruhi Su in the 1960’s.
See at.wdka.nl/wellsofknowledge for further information.</p>
<p><sup>7 </sup>Tengriism is a shamanistic religion practiced in Central Asia. It is characterized by shamanism, totemism, and animism. It is both monotheistic and polytheistic. Ancestor worship is also a big part of Tengriism. Discover Mongolia, “The Ancient Religion of Tengriism” (January 7, 2019). https://www.discovermongolia.mn/blogs/the-ancient-religion-of-tengriism </p>
<p><sup>8 </sup>The poem of Pir Sultan Abdal was chanted by many Ashiks and reached this research through Ashik Veysel whose voice was recorded in 1961. Visit https://wellsofknowledge.wdka.nl/ for further information.</p>
<p><sup>9 </sup>The Turkic languages are a group of languages spoken across Eastern Europe, the Middle East, Central Asia and Siberia. Turkic languages are spoken as native languages by some 170 million people. Wikiwand / Wikipedia, “List of Turkic Languages.” Accessed January 15, 2021. https://www.wikiwand.com/en/List_of_Turkic_languages</p>
<p><sup>10 </sup>“Alevi is the term used for a large number of heterodox Muslim Shi’a communities with different characteristics. Thus, Alevis constitute the largest religious minority in Turkey. Technically they fall under the Shi’a denomination of Islam, yet they follow a fundamentally different interpretation than the Shi’a communities in other countries.” Minority Rights Group International, “Alevis.” Accessed January 19, 2021. https://minorityrights.org/minorities/alevis/</p>
See <a href="at.wdka.nl/wellsofknowledge" target="_blank">at.wdka.nl/wellsofknowledge</a> for further information.</p>
<p><sup>7 </sup>Tengriism is a shamanistic religion practiced in Central Asia. It is characterized by shamanism, totemism, and animism. It is both monotheistic and polytheistic. Ancestor worship is also a big part of Tengriism. Discover Mongolia, “The Ancient Religion of Tengriism” (January 7, 2019). <a href="https://www.discovermongolia.mn/blogs/the-ancient-religion-of-tengriism" target="_blank">https://www.discovermongolia.mn/blogs/the-ancient-religion-of-tengriism</a> </p>
<p><sup>8 </sup>The poem of Pir Sultan Abdal was chanted by many Ashiks and reached this research through Ashik Veysel whose voice was recorded in 1961. Visit <a href="at.wdka.nl/wellsofknowledge" target="_blank">at.wdka.nl/wellsofknowledge</a> for further information.</p>
<p><sup>9 </sup>The Turkic languages are a group of languages spoken across Eastern Europe, the Middle East, Central Asia and Siberia. Turkic languages are spoken as native languages by some 170 million people. Wikiwand / Wikipedia, “List of Turkic Languages.” Accessed January 15, 2021. <a href="https://www.wikiwand.com/en/List_of_Turkic_languages" target="_blank">https://www.wikiwand.com/en/List_of_Turkic_languages</a></p>
<p><sup>10 </sup>“Alevi is the term used for a large number of heterodox Muslim Shi’a communities with different characteristics. Thus, Alevis constitute the largest religious minority in Turkey. Technically they fall under the Shi’a denomination of Islam, yet they follow a fundamentally different interpretation than the Shi’a communities in other countries.” Minority Rights Group International, “Alevis.” Accessed January 19, 2021. <a href="https://minorityrights.org/minorities/alevis/" target="_blank">https://minorityrights.org/minorities/alevis/</a></p>
<p><sup>11 </sup>Tariqa(t) is the Sufi doctrine or path of spiritual learning.</p>
<p><sup>12 </sup>Cura is a string instrument also known as bağlama or saz. I use this version because the word cura is better known internationally. </p>
<p><sup>13 </sup>Village Institutes were a set of schools in the rural areas of Anatolia which gathered children from nearby villages to teach both Western and local Eastern 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 due to the demand of the United States because of their socialist structures. Veysel taught between 1942–47.</p>
<p><sup>14 </sup>Mahur is one of the melodic systems used in Arabic, Persian and Turkish classical music. Atilla İlhan’s poem, “Mahur” (1972) was composed by Ahmet Kaya in 1993. Translated by Nihan Somay and Merve Kılıçer. See at.wdka.nl/wellsofknowledge for further bibliographic information. </p>
<p><sup>14 </sup>Mahur is one of the melodic systems used in Arabic, Persian and Turkish classical music. Atilla İlhan’s poem, “Mahur” (1972) was composed by Ahmet Kaya in 1993. Translated by Nihan Somay and Merve Kılıçer. See <a href="at.wdka.nl/wellsofknowledge" target="_blank">at.wdka.nl/wellsofknowledge</a> for further bibliographic information. </p>
<br>
<br>
<h2>Bibliography</h2>
<br>
<p>Books</p>
<br>
<p>Aysan, Y., 2013, <i>“Let’s Go to Postering” 1963-1980: The Visual Journey of the Left.</i> Istanbul: İletişim Publishing.</p>
<p>Kafadar, C., Kendine Ait Bir Roma - Diyar-ı Rum’da Kültürel Coğrafya ve Kimlik Üzerine (a Rome of one’s own: reflections on cultural geography and identity in the lands of rum). Istanbul: Metis Publishing, 2017.</p>
<p>Ortaylı, İ., <i>Tarihimiz ve Biz </i>(our history and us), 15th ed. Istanbul: Timaş Publishing, [2008] 2018.</p>
<p>Sayın, Z., <i>Kötülük Cemaatleri</i> (congregations of evil). Istanbul: Tekhne Publishing, 2016.</p>
<br>
<p>Articles, catalogues and compilations</p>
<br>
<p> Alpyıldız, E., “Yerelden ulusala taşınan müzik belleği ve yurttan sesler” (the memory of music carried from the local to the international and voices from the homeland). <i>Milli Folklor </i>(national folklore), year 24, issue 96, 2012. </p>
<p>Ayas, O. G., Kemalist Oryantalizm ve Osmanlı-Türk Müziği (Kemalist Orientalism and Ottoman-Turkish music).<i> Muhafazakar Düşünce </i>(conservative thinking), 2014: 189–212. </p>
<p>Ayvalıoğlu, N., “Cultural revolution of atatürk.” <i>Psikoloji Çalışmaları</i> (psychology studies), no. 15(0), 2012: 49–58. Retrieved from https://dergipark.org.tr/tr/pub/iupcd/issue/9418/118046 </p>
<p>Ayvalıoğlu, N., “Cultural revolution of atatürk.” <i>Psikoloji Çalışmaları</i> (psychology studies), no. 15(0), 2012: 49–58. Retrieved from <a href="https://dergipark.org.tr/tr/pub/iupcd/issue/9418/118046" target="_blank">https://dergipark.org.tr/tr/pub/iupcd/issue/9418/118046</a> </p>
<p>Azar, B., “Sözlü kültür geleceği açışından türk saz şiiri (Turkish saz poetry in terms of oral culture future).” <i>Fırat University Journal of Social Science</i>, volume 17, no. 2, 2007: 119–33. </p>
<p>Bars, M.E., “Şamanizmden Tasavvufa” (from Shamanism to Sufism). <i>Türkbilig</i>, no. 36, 2018: 167–86.</p>
<p> Başer, F.A., 2006, Türk halk ve klasik müziklerinin oluşum ve ilişkilerine tarihten bakmak-1 (looking at the formation and relations of Turkish folk and classical music from history-1). <i>Uluslararası insan bilimleri dergisi</i> (international j 1303-5134).</p>
<p> Bayket, S., “The anatomy of a parallel state: Gülen’s FETÖ,” <i>Hürriyet Daily News</i>, August 18, 2016. Accessed December 20, 2020. https://www.hurriyetdailynews.com/the-anatomy-of-a-parallel-state-gulens-feto--102959 </p>
<p> Bayket, S., “The anatomy of a parallel state: Gülen’s FETÖ,” <i>Hürriyet Daily News</i>, August 18, 2016. Accessed December 20, 2020. <a href="https://www.hurriyetdailynews.com/the-anatomy-of-a-parallel-state-gulens-feto--102959" target="_blank">https://www.hurriyetdailynews.com/the-anatomy-of-a-parallel-state-gulens-feto--102959 </a></p>
<p><i>Bir eşitlik arayışı: Türkiye’de azınlıklar</i> - Rapor (a quest for equality: minorities in Turkey - report), September 2007, Minority Rights Group International. </p>
<p>Erensü, S., and Karaman, O., “The Work of a Few Trees: Gezi, Politics and Space.” <i>International Journal of Urban and Regional Research</i>, 41(1), 2017: 19–36. DEPO (catalogue of exhibition and lecture series). <i>Kind of Electricity Appeared in Outer Space: Musical Turkey in the 1960’s</i>. Istanbul: Anadolu Kültür/Depo, 2012. </p>
<p> Göner, G., “Konargöçer Türkler kim?” (who are the nomad Turks?). <i>Rusen</i>, December 12, 2017. Accessed December 2020. http://www.rusen.org/konargocer-turkler-kim/ </p>
<p> Göner, G., “Konargöçer Türkler kim?” (who are the nomad Turks?). <i>Rusen</i>, December 12, 2017. Accessed December 2020. <a href="http://www.rusen.org/konargocer-turkler-kim/" target="_blank">http://www.rusen.org/konargocer-turkler-kim/</a> </p>
<p>Kaya, H., and Çeti̇n, N., “Pir Sultan Abdal’ın bir mecmuada yer alan şiirleri I” (Pir Sultan Abdal’s poems published in a journal I). HUMANITAS - <i>Uluslararası Sosyal Bilimler Dergisi</i> (Humanitas – international journal of social sciences), no. 4, volume 8, 2016: 131–56. DOI: 10.20304/humanitas.277542 </p>
<p>Koç, N., “Cumhuriyet’in ilk yıllarında radio” (radio in the first years of the republic). <i>Cumhuriyet Tarihi Araştırmaları Dergisi </i>(journal of republic history studies), year 8, issue 15, 2012. ISSN: 1305-1458 E-ISSN: 2147-1592</p>
<p> Köprülü, F., “Bektaşiliğin Menşe’leri” (the origins of bektashism). <i>Türk Yurdu</i> (Turkish homeland), no. 7, 1925. Accessed January 5, 2021. https://www.alevibektasi.eu/ </p>
<p> Köprülü, F., “Bektaşiliğin Menşe’leri” (the origins of bektashism). <i>Türk Yurdu</i> (Turkish homeland), no. 7, 1925. Accessed January 5, 2021. <a href="https://www.alevibektasi.eu/" target="_blank">https://www.alevibektasi.eu/ </a></p>
<p>Kuloğlu, Ü., 2009, “Müzik: Türklerin anadolu öncesi müzik gelenekleri ve islamiyet etkisi” (Music: Pre-Anatolian musical traditions of Turks and the influence of Islam.). T.C. <i>Kültür ve Turizm Bakanlığı Türkiye Kültür Portalı Projesi</i> (T.R. Turkey's culture ministry of culture and tourism portal project), Ankara. </p>
<p>Öymen, Ö. K., “‘Gezi’ Türkiye’nin onurudur” (‘Gezi’ is the honor of Turkey). <i>Cumhuriyet Newspaper</i>, February 24, 2020. Accessed May 20, 2020. https://www.cumhuriyet.com.tr/yazarlar/orsan-k-oymen/gezi-turkiyenin-onurudur-1722887 </p>
<p>Öymen, Ö. K., “‘Gezi’ Türkiye’nin onurudur” (‘Gezi’ is the honor of Turkey). <i>Cumhuriyet Newspaper</i>, February 24, 2020. Accessed May 20, 2020. <a href="https://www.cumhuriyet.com.tr/yazarlar/orsan-k-oymen/gezi-turkiyenin-onurudur-1722887" target="_blank">https://www.cumhuriyet.com.tr/yazarlar/orsan-k-oymen/gezi-turkiyenin-onurudur-1722887</a> </p>
<p>Özdamar, F., “Dede Korkut Kitabı’nın çağdaş müzik sanatçıları üzerindeki tesiri (the effect of the Dede Korkut book on contemporary music artists).” <i>Mili Folklor</i>, year 26, no. 101 (2014). ISSN 2146-8087. </p>
<p>Sakallıoğlu, Ü.C., “The Anatomy of the Turkish Military’s Political Autonomy.” <i>Comparative Politics</i>, vol. 29, no. 2 (January, 1997): 151–66. Accessed January 31, 2019. https://www.jstor.org/stable/422077</p>
<p>Sakallıoğlu, Ü.C., “The Anatomy of the Turkish Military’s Political Autonomy.” <i>Comparative Politics</i>, vol. 29, no. 2 (January, 1997): 151–66. Accessed January 31, 2019. <a href="https://www.jstor.org/stable/422077" target="_blank">https://www.jstor.org/stable/422077</a></p>
<p> Sarı, Ç.G., “Osmanlı’dan Cumhuriyet’e kadın müzisyenler: Taş plak geleceğinde Lale ve Nerkis Hanımlar CD’si” (female musicians from the Ottoman Empire to the Republic: CD of Madame Lale and Nerkis in the future of stone records). <i>Toplumsal Cinsiyet</i> (gender), no. 6, 2013. </p>
<p>NTV Tarih Magazine, “Stüdyo Yapım-Proje (studio production project): Gezi 1-year anniversary print.” <i>NTV Tarih Magazine</i>, no. 1, (2014). Maslak, İstanbul: Doğuş Grubu İletişim Yayıncılık.</p>
<p>Milli Folklor Araştırma Dairesi (folklore research office of Milli), <i>Türk Folkloru Araştırmaları Yıllığı </i>(almanac of Turkish folklore studies), 1975, Ankara: Ankara University Publishing House.</p>
<p>Uluskan, Seda Bayındır, Atatürk’ün sosyal ve kültürel politikaları (Atatürk’s social and cultural policies). Ankara: AKDTYK Atatürk Araştırma Merkezi (AKDTYK Atatürk research center), 2010.</p>
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<p>Online platforms and resources </p>
<p>Ahmet Yesevi University, <i>Turkish Literature Name Dictionary</i>. Accessed January 5, 2021. http://teis.yesevi.edu.tr/madde-detay/asik-veysel-satiroglu</p>
<p>Bi’bak (have a look) video lecture series “Yerli Müzik” (local music). Recorded March 9, 2018. Accessed December, 2020. https://vimeo.com/bibak</p>
<p>Istanbul Research Institute, “History of the Taksim Promenade,” exhibition text, June 7, 2013. Accessed January 4, 2020. https://blog.iae.org.tr/en/other/history-of-the-taksim-promenade</p>
<p><i>Gezi için müzik / Music for Gezi</i>, playlist. Accessed January 4, 2020, https://gezimusic.tumblr.com/playlist</p>
<p><i>Musiki Dergisi</i>. Accessed January 5, 2021. http://www.musikidergisi.net/</p>
<p>Ottoman History Podcast, “Cemal Kafadar Between Past and Present, Part 2,” episode 474, September 2020. Accessed December 2020. http://www.ottomanhistorypodcast.com/2020/08/kafadar-2.html</p>
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<p>Ahmet Yesevi University, <i>Turkish Literature Name Dictionary</i>. Accessed January 5, 2021. <a href="http://teis.yesevi.edu.tr/madde-detay/asik-veysel-satiroglu" target="_blank">http://teis.yesevi.edu.tr/madde-detay/asik-veysel-satiroglu</a></p>
<p>Bi’bak (have a look) video lecture series “Yerli Müzik” (local music). Recorded March 9, 2018. Accessed December, 2020. <a href="https://vimeo.com/bibak" target="_blank">https://vimeo.com/bibak</a></p>
<p>Istanbul Research Institute, “History of the Taksim Promenade,” exhibition text, June 7, 2013. Accessed January 4, 2020. <a href="https://blog.iae.org.tr/en/other/history-of-the-taksim-promenade" target="_blank">https://blog.iae.org.tr/en/other/history-of-the-taksim-promenade</a></p>
<p><i>Gezi için müzik / Music for Gezi</i>, playlist. Accessed January 4, 2020, <a href="https://gezimusic.tumblr.com/playlist" target="_blank">https://gezimusic.tumblr.com/playlist</a></p>
<p><i>Musiki Dergisi</i>. Accessed January 5, 2021. <a href="http://www.musikidergisi.net/" target="_blank">http://www.musikidergisi.net/</a></p>
<p>Ottoman History Podcast, “Cemal Kafadar Between Past and Present, Part 2,” episode 474, September 2020. Accessed December 2020. <a href="http://www.ottomanhistorypodcast.com/2020/08/kafadar-2.html" target="_blank">http://www.ottomanhistorypodcast.com/2020/08/kafadar-2.html</a></p>