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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 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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<h1>Wells of Knowledge: <p>Streams of poetry, music and resistance in Turkey</h1> |
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<h2>Merve Kılıçer</h2> |
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<p><i>“If history writing does not emancipate, it must be serving tyranny.” |
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Cemal Kafadar, ‘Kendine ait bir Roma’, pg.1</i><br></p> |
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<p> |
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In 2012, rumors started about a shopping mall to be built in the place of Gezi Park 1 near Taksim |
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Square in İstanbul. This park had not necessarily been in good shape for a while, but it offered a |
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shaded passage way for passersby, benches for the homeless, a playground for children and most |
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importantly, it was the last bit of green space in the concrete face of our cosmopolitan home. The |
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whole project was called ‘Taksim Yayalaştırma Projesi' (Project for The Pedestrianization of Tak- |
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sim) and the ruling government of AKP was insistent on realizing it despite the oppositions from |
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TMMOB (the chamber of architects) and solidarity organizations against gentrification like İstanb- |
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ul Kent Savunması (Istanbul City Defence) and Taksim Dayanışması (Taksim Solidarity). In fact, |
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many people had already been protesting and showing resistance against such projects that demol- |
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ished historic buildings of the area in the name of ‘urban transformation’. At first, protests evolving |
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around such projects were small scale and the police were aggressive enough to diffuse the crowd. |
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Things started to intensify when Emek Cinema, a historic cinema theatre, was demolished to be- |
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come a shopping mall in the spring of 2013. Following this event, more people started joining envi- |
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ronmentalist groups camping and organizing small concerts at Gezi park to raise awareness. On |
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29th of May, many people including myself were notified through friends and social media that the |
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trees of the park were being uprooted by the construction company and that police forces attacked |
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people who tried to resist them. When the police blocked all entrances to the Taksim Square and |
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the park, it marked the beginning of the biggest protest in the history of the Republic of Turkey. |
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Demonstrations started in Istanbul, around Taksim and spread across the country with the slogan |
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‘Her yer Taksim Her yer Direniş’, translating ‘Everywhere is Taksim, Resistance Everywhere’. |
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I was also with the protestors as I had spent most of my youth in Taksim and the Beyoğlu neigh- |
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borhood and I wasn't going to sit behind while they destroyed my home town. After two days of |
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protests and battle with the police, security forces finally stepped out of the square, hence starting |
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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 |
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was not necessary due to the donations the movement had received with emerging solidarity prac- |
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tices. |
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The occupation was a historic event for all of the country. It was like falling in love. It was terrify- |
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ing. It was traumatizing. It took lives. And it brought lives together. It was hopeful. And fearful. It |
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was a reverberation of the un/under/misrepresented multitude of Turkey. And we were clueless |
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about where to go from there. I remember an international journalist had asked me if it was a polit- |
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ical protest. I said, ‘No, there are no political parties behind this movement’ as my understanding |
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of what politics could be was limited. We were just an ‘apolitical generation’ who rebelled out of |
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nowhere, surprising the entire country. |
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After 7 years, I’m still trying to figure out how and why we managed to come together. Surely pro- |
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tecting a green area that belonged to our home, protecting friends and the increasing level of op- |
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pression were the instinctive push points but my real question is: how did the spirit of Gezi Park |
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come to life? |
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</p> |
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<p> |
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The park brought together people from different economic backgrounds, ethnicities and beliefs, |
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manifesting the idea that when we stand together we are heard. And our voice carried all the tunes, |
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rhythms and stories of Turkey. To analyze this historic moment, I’ve been listening closely to the |
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echoes of this voice through researching cultural and folkloric production in the history of this |
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land. I asked myself: Could the accumulation of these voices and words be the forming substances |
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of Gezi Spirit? What kind of knowledge do we inherit from the land we feel rooted in? Which are |
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the stories we were raised with and how did they shape our perception of the world and ‘other’ |
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people we share it with? |
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</p> |
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<p> |
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Learning and unlearning the tenets of our upbringing is a process of growth. At the park, we wit- |
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nessed the clash of all the false and accurate knowledge we were introduced to throughout our |
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lives. This clash brought us a little closer to the understanding of what is political and how we can |
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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 |
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with twinkling eyes and trying to see the bottom. Looking at myself on the fluctuating deep dark |
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surface, I started to ask simple questions about my own history. I looked at memories and mo- |
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ments of growth that could shed light on what direction I should take after the protests. I started |
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listening back to the songs of my childhood which I had memorized without questioning their |
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meaning or understanding when I heard people chanting them. I realized that most of them were |
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originally poems and that by following such cultural productions I had accessed an abundance of |
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alternative streams of knowledge that were previously hidden to me. |
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Poetry and music start their journey together and develop in parallel with each other, rooting into |
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the culture. The first Turkish poets were shamans, of the nomad Turkish communities, whom were |
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called Kam, Baksı, Ozan alongside many other names. These shamanic figures were often wander- |
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ers or minstrels who traveled with their instruments from land to land, chanting their own poems |
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and those of their predecessor. They were storytellers who narrated with poetry, music, dance and |
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plays. Such practices are common in many cultures around the world and although the societies |
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and beliefs went through significant changes over time, this method of carrying knowledge re- |
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mained part of everyday life.</p><p></p> |
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|
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<p id="textdadaloglu"> |
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Kalktı Göç Eyledi Avşar Elleri,<br> |
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Ağır Ağır Giden Eller Bizimdir.<br> |
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Arap Atlar Yakın Eder ırağı,<br> |
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Yüce Dağdan Aşan Yollar Bizimdir.<br> |
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/<br> |
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Rised and migrated the Avşar tribes,<br> |
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The folk slowly moving is ours.<br> |
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Arabic horses render the distances close,<br> |
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The paths overrunning the mighty mountains are ours.<br> |
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|
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<i>Dadaloğlu’s (18th cc) epical folk poem was chanted by Ruhi Su in 1960’s</i></p> |
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|
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<p>Islam started spreading through similar traditions of folkloric chanting and poetry migrating from |
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regions today known as Iran (Horasan) and Afghanistan. In time, many nomadic tribes of Central |
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Asia started abandoning their polytheistic beliefs, like the shamanic belief Tengrism 2 , and started |
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joining Islam. In this process Islam became greatly influenced by previous belief systems and |
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merged in their ritualistic way of relating with nature and the world beyond. The teachings of the |
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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 |
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chanted stories of the past and present, Islamic myths and epic stories started spreading in Anato- |
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lia. When Ottoman rule first started spreading through the region (13 th century), they joined forces |
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with other Turkic dominions and gradually became a powerful empire. The newly-built Sufi |
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schools and trained minstrels had a key role in educating people and spreading the school's specific |
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rhetoric. Some of the guiding figures and masters of this process were famous Islamic thinkers and |
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folk poets such as Yunus Emre, Mevlana Celaleddin Rumi and Hacı Bektaş-i Veli. |
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A similar version of this musical chanting practice along with poetry made its way into the Ot- |
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toman Palace and helped create the Ottoman classical music with the initiative of Sultans from dif- |
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ferent eras. In the palace, men were taught at the Enderun (Palace) School and women received |
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musical training at the Harem of Topkapı Palace. These two paths of music and literature, in folk- |
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lore production and in palace music, led my curiosity and this research through different parts of |
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history. While researching about the history of palace music, I learned about the involvement of |
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female musicians, poets and their increased presence in the public sphere with the arrival of mod- |
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ernism. For this essay, I follow the path of folkloric production which relates to the current political |
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issues and represents different ethnic communities of Anatolia. My family does not belong to a mi- |
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nority group of Turkey but growing up in a diverse and historic city like Istanbul, one becomes |
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aware of the misinformation we are taught within the education system. This type of history telling, |
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which glorifies nationalistic qualities, is common all around the world and eliminates stories of mi- |
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norities and critical thinking methods. To emancipate myself and my practice, it is meaningful to |
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investigate the past through folkloric production that has reached our present day. Following Ashik |
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traditions 3 and practices has been helping me to travel in time and listen to the stories of people |
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from different centuries. This tradition which has been taught and transferred through mentoring, |
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allows this volatile knowledge 4 to flow and continue reaching different audiences.</p> |
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Bize de Banaz'da Pir Sultan derler |
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Bizi de kem kişi bellemesinler |
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Paşa hademine tembih eylesin |
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Kolum çekip elim bağlamasınlar |
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Hüseyin Gazi Sultan binsin atına |
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Dayanılmaz çarh-ı felek zatına |
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Bizden selâm söylen ev külfetineÇıkıp ele karşı ağlamasınlar |
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/ |
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They call me Pir Sultan in Banaz |
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Do not suppose I’m the sinister one |
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Pasha should advice his servants |
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Not to pull my arm and tie my hands |
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May Hüseyin Gazi Sultan* ride his horse |
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Irresistible to his çarh-ı felek** self |
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Send our salutes to the burdened household |
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They should not shed tears in presence of strangers |
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*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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<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.</p> |
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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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<p> |
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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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</p> |
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<p> |
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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</p> |
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<p> |
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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. </p> |
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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 |
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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-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 |
|||
-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 |
|||
|
|||
</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 w3-include-html="thesis.html" class="thesis"> |
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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"> |
|||
<div class="media_area"> |
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<div id="showdadaloglu"><div class='text_audio'>Bio</div> |
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<source src="../static/audio/HNI_Soundinstall_3tracks_together1.mp3" type="audio/mpeg"> |
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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 class="col-md-10"> |
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<div class="media_area"> |
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<div id="showdadaloglu"><div class='text_audio'>Bio</div> |
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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> --> |
|||
<img src="static/images/poem.png"> |
|||
</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="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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<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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<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="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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<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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<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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|||
<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> |
|||
<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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<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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<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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</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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<div class="row"> |
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<div class="col-md-12"> |
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<source src="../static/audio/FreshMythsDifferentTimes_performance_podcast1.mp3" type="audio/mpeg"> |
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<source src="static/audio/FreshMythsDifferentTimes_performance_podcast1.mp3" type="audio/mpeg"> |
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position: absolute; |
|||
} |
|||
|
|||
|
|||
|
|||
|
|||
.draggable iframe { |
|||
padding: 20px; |
|||
} |
|||
|
|||
#transcriptWrapper { |
|||
overflow: hidden; |
|||
} |
|||
|
|||
#transcript > div { |
|||
transition: all 0.8s ease; |
|||
list-style-type: disc; |
|||
} |
|||
|
|||
.speaking { |
|||
font-weight: bold; |
|||
} |
|||
|
|||
|
|||
|
|||
|
|||
/* pop up */ |
|||
#showdadaloglu,#showasikA,#showasikV,#showmuharrem,#shownazim,#showneyzen,#showruhisu,#showasu { |
|||
display: none; |
|||
left: 20%; |
|||
width: 50% !important; |
|||
} |
|||
|
|||
.text_audio{ |
|||
margin-bottom: 1.2em; |
|||
margin-top: 2em; |
|||
font-family:'Vesper Libre', serif; |
|||
} |
|||
|
|||
|
|||
/*d3 map*/ |
|||
.link { |
|||
stroke: #ccc; |
|||
} |
|||
|
|||
.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; */ |
|||
} |
|||
@ -0,0 +1,43 @@ |
|||
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. |
|||
Binary file not shown.
Binary file not shown.
Binary file not shown.
Binary file not shown.
|
After Width: | Height: | Size: 3.1 MiB |
|
After Width: | Height: | Size: 2.6 MiB |
Binary file not shown.
|
After Width: | Height: | Size: 2.1 MiB |
|
After Width: | Height: | Size: 6.4 MiB |
|
After Width: | Height: | Size: 5.7 MiB |
|
After Width: | Height: | Size: 478 KiB |
|
After Width: | Height: | Size: 16 KiB |
|
After Width: | Height: | Size: 42 KiB |
|
After Width: | Height: | Size: 7.1 MiB |
|
After Width: | Height: | Size: 200 KiB |
|
After Width: | Height: | Size: 295 KiB |
|
After Width: | Height: | Size: 1.3 KiB |
|
After Width: | Height: | Size: 1.3 KiB |
|
After Width: | Height: | Size: 4.4 MiB |
|
After Width: | Height: | Size: 3.4 MiB |
|
After Width: | Height: | Size: 1.9 MiB |
|
After Width: | Height: | Size: 2.2 MiB |
File diff suppressed because it is too large
@ -0,0 +1,158 @@ |
|||
var width = 500, |
|||
height = 350 |
|||
|
|||
var svg = d3.select(".map_area").append("svg") |
|||
.attr("width", width) |
|||
.attr("height", height) |
|||
.attr("viewBox", `${-width/3.1} ${-height/2.3} ${width*2.5} ${height*2.5}`); |
|||
|
|||
var force = d3.layout.force() |
|||
.gravity(0.009) |
|||
.distance(250) |
|||
.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", "node ") |
|||
.attr("class", function(d){return "node group" + d.group}) |
|||
.attr("id", function(d){return d.id}) |
|||
.on("click", function(i){ |
|||
popup(i.id,i.time); |
|||
}) |
|||
.call(force.drag); |
|||
|
|||
d3.select("body").on("click",function(i){ |
|||
stop(i.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 }); |
|||
|
|||
node.on({ |
|||
"mouseover": function(d) { |
|||
d3.select(this).style("cursor", "pointer"); |
|||
}}); |
|||
|
|||
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 + ")"; }); |
|||
|
|||
|
|||
}); |
|||
|
|||
// no overlapping
|
|||
|
|||
//var padding = 10, // separation between circles
|
|||
// radius=8;
|
|||
//function collide(alpha) {
|
|||
// var quadtree = d3.geom.quadtree(graph.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
|
|||
|
|||
function popup(name,time) { |
|||
$("#show"+name).fadeIn() |
|||
console.log("around") |
|||
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(); |
|||
$("#audioasikA").trigger('pause'); |
|||
var textmuh = document.getElementById("textasikA"); |
|||
textmuh.classList.remove("active"); |
|||
}; |
|||
if (!$(e.target).parents().andSelf().is('#asikV')) { |
|||
$("#showasikV").fadeOut(); |
|||
$("#audioasikV").trigger('pause'); |
|||
var textmuh = document.getElementById("textasikV"); |
|||
textmuh.classList.remove("active"); |
|||
}; |
|||
|
|||
}); |
|||
|
|||
}); |
|||
|
|||
// 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");
|
|||
// };
|
|||
// });
|
|||
// };
|
|||
|
|||
//
|
|||
//
|
|||
@ -0,0 +1,21 @@ |
|||
// 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++); } |
|||
}); |
|||
|
|||
|
|||
|
|||
}); |
|||
@ -0,0 +1,558 @@ |
|||
{ |
|||
"nodes": [{ |
|||
"name": "Dadaloğlu", |
|||
"group": 1, |
|||
"id": "dadaloglu", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Dedekorkut", |
|||
"group": 1, |
|||
"id": "dedekorkut", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Aşık Nesimi", |
|||
"group": 1, |
|||
"id": "asikN", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Aşık Ali İzzet", |
|||
"group": 1, |
|||
"id": "asikA", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Aşık Mahzuni Şerif", |
|||
"group": 1, |
|||
"id": "asikM", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Karacaoğlan", |
|||
"group": 1, |
|||
"id": "karacaoglan", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Aşık Veysel", |
|||
"group": 1, |
|||
"id": "asikV", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Neşet Ertaş", |
|||
"group": 1, |
|||
"id": "neset", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Muharrem Ertaş", |
|||
"group": 1, |
|||
"id": "muharrem", |
|||
"time": 1 |
|||
|
|||
}, |
|||
{ |
|||
"name": "Ali Ekber Çiçek", |
|||
"group": 1, |
|||
"id": "aliekber", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Dedeoğlu", |
|||
"group": 1, |
|||
"id": "dedeoglu", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Pir Sultan Abdal", |
|||
"group": 1, |
|||
"id": "pir", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Yunus Emre", |
|||
"group": 1, |
|||
"id": "yunus", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Kul Nesimi", |
|||
"group": 1, |
|||
"id": "kulN", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Kaygusuz Abdal", |
|||
"group": 1, |
|||
"id": "kaygusuz", |
|||
"time": 1 |
|||
}, |
|||
|
|||
{ |
|||
"name": "Ahmed Yesevi", |
|||
"group": 2, |
|||
"id": "ahmedY", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Mevlana Celaleddin Rumi", |
|||
"group": 2, |
|||
"id": "mevlana", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Hacı Bektaş-i Veli", |
|||
"group": 2, |
|||
"id": "haci", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Nazım Hikmet", |
|||
"group": 3, |
|||
"id": "nazim", |
|||
"time": 10 |
|||
}, |
|||
{ |
|||
"name": "Ahmed Arif", |
|||
"group": 3, |
|||
"id": "ahmedA", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Gülten Akın", |
|||
"group": 3, |
|||
"id": "gulten", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Nilgün Marmara", |
|||
"group": 3, |
|||
"id": "nilgun", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Atilla İlhan", |
|||
"group": 3, |
|||
"id": "atilla", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Lale Müldür", |
|||
"group": 3, |
|||
"id": "lale", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Neyzen Tevfik", |
|||
"group": 3, |
|||
"id": "neyzen", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Melih Cevdet Anday", |
|||
"group": 3, |
|||
"id": "melih", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Cahit Sıtkı Tarancı", |
|||
"group": 3, |
|||
"id": "cahit", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Orhan Veli Kanık", |
|||
"group": 3, |
|||
"id": "orhan", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Ruhi Su", |
|||
"group": 4, |
|||
"id": "ruhisu", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Asu Maralman", |
|||
"group": 4, |
|||
"id": "asu", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Ceylan Ertem", |
|||
"group": 4, |
|||
"id": "ceylan", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Ahmet Kaya", |
|||
"group": 4, |
|||
"id": "ahmet", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Fazıl Say", |
|||
"group": 4, |
|||
"id": "fazil", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Selda Bağcan", |
|||
"group": 4, |
|||
"id": "selda", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Sezen Aksu", |
|||
"group": 4, |
|||
"id": "sezen", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Büyük Ev Ablukada", |
|||
"group": 4, |
|||
"id": "buyuk", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Sümeyra Çakır", |
|||
"group": 4, |
|||
"id": "sumeyra", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Cem Karaca", |
|||
"group": 4, |
|||
"id": "cem", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Barış Manço", |
|||
"group": 4, |
|||
"id": "baris", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Ayfer Vardar", |
|||
"group": 4, |
|||
"id": "ayfer", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Tülay German", |
|||
"group": 4, |
|||
"id": "tulay", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Ezhel", |
|||
"group": 4, |
|||
"id": "ezhel", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Neşe Karaböcek", |
|||
"group": 4, |
|||
"id": "nese", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Erkin Koray", |
|||
"group": 4, |
|||
"id": "erkin", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Moğollar", |
|||
"group": 4, |
|||
"id": "mogollar", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Fikret Kızılok", |
|||
"group": 4, |
|||
"id": "fikret", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "3 Hürel", |
|||
"group": 4, |
|||
"id": "3hurel", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Levent Yüksel", |
|||
"group": 4, |
|||
"id": "levent", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Serdar Ateşer", |
|||
"group": 4, |
|||
"id": "serdar", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "Hümeyra", |
|||
"group": 4, |
|||
"id": "humeyra", |
|||
"time": 1 |
|||
}, |
|||
{ |
|||
"name": "MFÖ", |
|||
"group": 4, |
|||
"id": "mfo", |
|||
"time": 1 |
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}, |
|||
{ |
|||
"name": "İlhan Mimaroğlu", |
|||
"group": 4, |
|||
"id": "ilhan", |
|||
"time": 1 |
|||
} |
|||
], |
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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> |
|||
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|||
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) |
|||
**The navy rifle that turns and sparks when lit |
|||
-Pir Sultan Abdal’s poem was chanted by Ashik Veysel in 1961 |
|||
</p> |
|||
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 |
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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 |
|||
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- |
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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. |
|||
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 - |
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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 |
|||
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- |
|||
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 |
|||
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 |
|||
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- |
|||
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 |
|||
-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 |
|||
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 |
|||
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- |
|||
lığı Türkiye Kültür Portalı Projesi, Ankara |
|||
-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. |
|||
Toplumsal Cinsiyet, Nr:6 |
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-Tarih Magazine, #1, 2014. Stüdyo Yapım-Proje - Gezi 1 year anniversary print |
|||
-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