415 lines
33 KiB
HTML
415 lines
33 KiB
HTML
<html>
|
||
<head>
|
||
<title>VVVW</title>
|
||
<link rel="stylesheet" href="../static/css/style.css">
|
||
<link rel="stylesheet" href="https://maxcdn.bootstrapcdn.com/bootstrap/4.0.0/css/bootstrap.min.css" integrity="sha384-Gn5384xqQ1aoWXA+058RXPxPg6fy4IWvTNh0E263XmFcJlSAwiGgFAW/dAiS6JXm" crossorigin="anonymous">
|
||
<script src="https://d3js.org/d3.v3.min.js"></script>
|
||
<script type="text/javascript" src="../static/js/p5/p5.min.js"></script>
|
||
<script src="https://code.jquery.com/jquery-3.2.1.slim.min.js" integrity="sha384-KJ3o2DKtIkvYIK3UENzmM7KCkRr/rE9/Qpg6aAZGJwFDMVNA/GpGFF93hXpG5KkN" crossorigin="anonymous"></script>
|
||
<script src="https://cdnjs.cloudflare.com/ajax/libs/popper.js/1.12.9/umd/popper.min.js" integrity="sha384-ApNbgh9B+Y1QKtv3Rn7W3mgPxhU9K/ScQsAP7hUibX39j7fakFPskvXusvfa0b4Q" crossorigin="anonymous"></script>
|
||
<script src="https://maxcdn.bootstrapcdn.com/bootstrap/4.0.0/js/bootstrap.min.js" integrity="sha384-JZR6Spejh4U02d8jOt6vLEHfe/JQGiRRSQQxSfFWpi1MquVdAyjUar5+76PVCmYl" crossorigin="anonymous"></script>
|
||
<script src="../static/js/jquery-1.12.4.js"></script>
|
||
<script src="../static/js/jquery-ui.js"></script>
|
||
<script src="https://ajax.googleapis.com/ajax/libs/jquery/3.5.1/jquery.min.js"></script>
|
||
|
||
</head>
|
||
<body>
|
||
<div class="bg">
|
||
<div class="row">
|
||
<div class="col-md-7">
|
||
<div class="map_area">
|
||
<script src="../static/js/d3_map.js"></script>
|
||
</div>
|
||
<div class="row">
|
||
<div class="col-md-12">
|
||
<p id="legend_title">Map legend</p>
|
||
|
||
<div class="map_legend">
|
||
<div class="box1"></div> <p>Folklore literature</p>
|
||
<div class="box2"></div> <p>Islamic Mysticism</p>
|
||
<div class="box3"></div> <p>Contemporary poets</p>
|
||
<div class="box4"></div> <p>Contemporary musicians</p>
|
||
</div>
|
||
</div>
|
||
</div>
|
||
</div>
|
||
<div class="col-md-5">
|
||
<div class="scrollable">
|
||
<div class="row">
|
||
<div class="col-md-12">
|
||
<div class="thesis">
|
||
<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>
|
||
<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?
|
||
</p>
|
||
<p>
|
||
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?
|
||
</p>
|
||
<p>
|
||
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>
|
||
|
||
<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>
|
||
<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
|
||
the Empire.
|
||
After this fall of the Ottoman Empire following the 1st World War, folk of Anatolia, with different
|
||
ethnicities and cultures, came together in order to save the land from western colonizers and fight
|
||
the War of Independence with the leadership of Atatürk, the founder of the Republic of Turkey.
|
||
The republic settled after negotiations with the invaders and reforms were made terminating reli-
|
||
gious tariqas 6 in order to start a new secular state. The intention of unifying people, led the new
|
||
state to evolve around nationalistic ideologies which gradually eliminated the diverse fabric of the
|
||
land. This orientation reflected on the themes of anthems and torch songs that narrated epics
|
||
about the independence war and glorified the ‘Turkic’ nation. These ideologies were propagated
|
||
faster around the country with the arrival of new sound recording technologies (gramophones,phonographs) and communication lines (telegraph, radio). However, despite the first radio broad-
|
||
casting starting in 1927, it was only after the 1950’s that radio and the nationalistic propaganda it
|
||
brought along was able to reach all regions of central Anatolia. The westernization in music had
|
||
already started in the last decades of Ottoman Empire with European notation techniques being
|
||
introduced to archive songs composed in the palace. During the first years of the new republic, ra-
|
||
dio broadcasts had an important role in spreading the reforms of westernization and educating the
|
||
rural (folk) population. Even though Turkey was a free republic, the geopolitical position of the
|
||
country alongside its urgent need to catch up with new technologies and the remaining debts of the
|
||
Ottoman rendered it vulnerable towards cultural colonization. With the aim of defining the identity
|
||
of ‘national music’, from 1926 till the end of the 1940’s trips were organized to archive (notate,
|
||
record on vinyl) the folkloric production in Anatolia. The archived content was used to teach west-
|
||
ern educated musicians to perform folkloric tunes on a few of the radio programs that transmitted
|
||
folk music. At times, these programs invited Ashik figures to play live. Ashik Veysel, one of the
|
||
most famous Ashik of the late Ottoman and early Republic times, was the only Ashik with Alevi
|
||
roots to be played on the radio. Even though in the 1930’s he was titled as the national poet of the
|
||
state, his Alevi roots, were still not recognized. In the 1940’s he was teaching to play cura at several
|
||
Village Institutes 7 (1942-1947) where he encountered Ruhi Su and many other musicians and intel-
|
||
lectuals from Istanbul.</p>
|
||
<p id="textmuharrem">
|
||
The cultural production of those years can serve as a recording of the political climate around the
|
||
country. Starting from the 1950’s the western educated musicians, like Ruhi Su, Tülay German,
|
||
Sümeyra Çakır or Fikret Kızılok, in order to stay connected to their roots, started combining folk-
|
||
loric tunes and themes with popular western instruments and methods. While Tülay German
|
||
adopted folklore songs into jazz tunes and collaborated with Ashiks that migrated to the city, Fikret
|
||
Kızılok went to study with Ashik Veysel in Anatolia and made records with the songs of his mentor.</p>
|
||
<p>
|
||
This new approach was the result of the emigration of Anatolian folk (especially the minorities) to-
|
||
wards big cities to work in factories or study at the universities and technical schools. The universi-
|
||
ties became the meeting point for western educated city youth and the Anatolian youth who were
|
||
brought up with local traditions. This possibility of exchange created a synthesis of ideas, traditions
|
||
and culture which shaped the political solidarity groups. Influenced by neighboring Soviet Union,leftist movements sided with the Kurdish and Alevi people who already had a history of disobedi-
|
||
ence and used their traditional cultural production to propagate ideas of equality. These groups
|
||
were showing resistance to the economic sanctions of the U.S. who had been providing financial
|
||
support to Turkey and to do so, they were using the folkloric language which created a bridge be-
|
||
tween intellectuals, factory workers (in Turkey and in Europe) and farmers of the rural areas.
|
||
</p>
|
||
<p>
|
||
Şenlik dağıldı bir acı yel kaldı bahçede yalnız
|
||
O mahur beste çalar Müjgan’la ben ağlaşırız
|
||
Gitti dostlar şölen bitti ne eski heyecan ne hız
|
||
Yalnız kederli yalnızlığımızda sıralı sırasız
|
||
O mahur beste çalar Müjgan’la ben ağlaşırız
|
||
Bir yangın ormanından püskürmüş genç fidanlardı
|
||
Güneşten ışık yontarlardı sert adamlardı
|
||
Hoyrattı gülüşleri aydınlığı çalkalardı
|
||
Gittiler akşam olmadan ortalık karardı
|
||
Bitmez sazların özlemi daha sonra daha sonra
|
||
Sonranın bilinmezliği bir boyut katar ki onlara
|
||
Simsiyah bir teselli olur belki kalanlara
|
||
Geceler uzar hazırlık sonbahara
|
||
/
|
||
The carnival has dispersed only a bitter breeze remained in the garden
|
||
That Mahur tune plays Müjgan and I keep weeping
|
||
Friends are gone the feast has ended old thrills are no more nor is the haste
|
||
Solely mournful in our loneliness timely untimely
|
||
That Mahur tune plays Müjgan and I keep weeping
|
||
Young saplings they were erupted from a forest of fire
|
||
They would sculpt the light from the sun they were tough men
|
||
Their laughters were wild shaking the brightness of the day
|
||
As they left it all went dark before the evening came
|
||
The longing of the curas will not end then and then
|
||
The obscurity of the afterwards adds a dimension to them
|
||
And perhaps they become a pitch black solace for the ones left behind
|
||
Nights are getting longer preparation is for the fall
|
||
Atilla İlhan’s poem, Mahur 8 (1972) was composed by Ahmet Kaya in 1993</p>
|
||
<p>
|
||
The resistance included many intellectuals and cultural workers who persistently retold the politi-
|
||
cal history of their land through poetry. Musicians who had adopted the folkloric traditions, used
|
||
the same method to pass on this knowledge and started to compose contemporary poetry into
|
||
songs. Poems of leftist intellectuals like Nazım Hikmet, Ahmed Arif, Atilla İlhan and many more
|
||
continued to be composed for decades by famous musicians in response to the local and global pol-itics. Still today young musicians, jazz soloists, rappers and pop singers voice the songs of famous
|
||
Ashik figures or folkloric ballads in various styles and spread the voice of the ‘other’ around the
|
||
world. These songs carry not only the tunes and world view of important intellectuals but also their
|
||
struggle and pain caused by political exiles, imprisonments, tortures and executions in different
|
||
stages in history. The poems telling folkloric stories continue living in songs, and reaching new
|
||
generations of youth that continue chanting them for future generations. I would like to think of it
|
||
as a cycle of growth that happens in our collective consciousness, that suddenly surfaces in mo-
|
||
ments like the Gezi Park Occupation. To contribute to this growth I share my research and through
|
||
my practice I bring forward poems, poets and composers that continue to teach me about this col-
|
||
lective past. </p>
|
||
Gezi Park 1 : In 1806, where Gezi Park is located now, Ottoman Military Barracks were built. In 1939, after a process of
|
||
abandonment of the structure, it was demolished along with the Armenian grave yard that dated back to 1560. The aim of
|
||
this change was to plan a modern, ’healthy’ city with green areas, near the residential districts to be built.
|
||
Tengrism 2 : is a shamanistic religion practiced in Central Asia. It is characterized by shamanism, totemism, and ani-
|
||
mism. It is both monotheistic and polytheistic. Ancestor worship is also a big part of Tengriism. - https://www.discover-mongolia.mn/blogs/the-ancient-religion-of-tengriism -
|
||
Ashik tradition 3 : Ashik are traveling bards with a string instrument. Their knowledge is passed on through mentoring.
|
||
Volatile Knowledge 4 : For further expansion on this term in relation to my practice see Kılıçer, M (2019) ‘Volitional
|
||
Volutions of the Volatile Waters’ on www.mervekilicer.com
|
||
Alevi 5: Alevism is a branch of Shi’a Islam that is practiced in Turkey and the Balkans among ethnic Turks and Kurds.
|
||
Alevis make up 20% of Turkish Muslims and comprise Turkey’s largest religious minority community. - https://rlp.hd-
|
||
s.harvard.edu/faq/alevism
|
||
Village Institute 6 a set of schools in the rural areas of Anatolia, gathered children from near by villages to teach both
|
||
western and eastern/local knowledge. They aimed to develop a basic level of education and raise teachers for the society
|
||
of the newly established republic. These institutes were terminated with the demand of U.S. because of their socialist
|
||
structures.
|
||
Tariqa(t) 7: T he Sufi doctrine or path of spiritual learning.
|
||
Mahur 8 One of the systems of melody types used in Arabic, Persian and Turkish classical music. - Wikipedia -Bibliography
|
||
Books
|
||
Kafadar, C., 2017, Kendine Ait Bir Roma - Diyar-ı Rum’da Kültürel Coğrafya ve Kimlik Üzerine. Istanbul: Metis Publish-
|
||
ing
|
||
Ortaylı, İ., 2008, Tarihimiz ve Biz, 15nd ed., 2018, Istanbul: Timaş Publishing
|
||
Sayın, Z., 2016, Kötülük Cemaatleri. Istanbul: Tekhne Publishing
|
||
Articles, catalogues and compilations
|
||
-Alpyıldız, E., 2012, Yerelden ulusala taşınan müzik belleği ve yurttan sesler. Milli Folklor, year 24, issue 96
|
||
-Ayas, O. G., 2014, Kemalist Oryantalizm ve Osmanlı-Türk Müziği. Muhafazakar Düşünce, pg. 189-212
|
||
-Azar,B., 2007, Sözlü kültür geleceği açışından türk saz şiiri. Fırat University Journal of Social Science, Volume: 17, Nr: 2,
|
||
pg: 119-133. Elazığ
|
||
-Bars, Mehmet Emin, 2018, Şamanizmden Tasavvufa. Türkbilig, Nr. 36, pg: 167-186.
|
||
-Başer, F.A., 2006, Türk halk ve klasik müziklerinin oluşum ve ilişkilerine tarihten bakmak-1. Uluslararası insan bilimleri
|
||
dergisi, ISSN: 1303-5134
|
||
-Erensü, S. and Karaman, O. (2017). The Work of a Few Trees: Gezi, Politics and Space. International Journal of Urban
|
||
and Regional Research, 41(1), pp.19-36.
|
||
-DEPO (Catalogue of exhibition and lecture series), 2012, Kind of Electricity Appeared in Outer Space: Musical Turkey in
|
||
the 1960’s. Istanbul: Anadolu Kültür/Depo
|
||
N., 2016,Pir Sultan Abdal’ın bir mecmuada yer alan şiirleri I, (Pir Sultan Abdal’s poem in a journal I).
|
||
-Kaya, H , Çeti n,
|
||
HUMANITAS - Uluslararası Sosyal Bilimler Dergisi , 4 (8) , 131-156 . DOI: 10.20304/humanitas.277542
|
||
-Koç, N., 2012, Cumhuriyet’in ilk yıllarında radyo. Cumhuriyet Tarihi Araştırmaları Dergisi, Year:8, Issue: 15.
|
||
ISSN: 1305-1458 E-ISSN: 2147-1592
|
||
-Kuloğlu, Ü., 2009, Müzik: Türklerin anadolu öncesi müzik gelenekleri ve islamiyet etkisi. T.C. Kültür ve Turizm Bakan-
|
||
lığı Türkiye Kültür Portalı Projesi, Ankara
|
||
-Özdamar, F., 2014, Dede Korkut Kitabı’nın çağdaş müzik sanatçıları üzerindeki tesiri. Mili Folklor, Year 26, Nr: 101.
|
||
ISSN 2146-8087
|
||
-Sarı, Ç.G., 2013, Osmanlı’dan Cumhuriyet’e kadın müzisyenler: Taş plak geleceğinde Lale ve Nerkis Hanımlar CD’si.
|
||
Toplumsal Cinsiyet, Nr:6
|
||
-Tarih Magazine, #1, 2014. Stüdyo Yapım-Proje - Gezi 1 year anniversary print
|
||
-Türk Folkloru Araştırmaları Yıllığı, 1975, Ankara University Publishing House, Ankara
|
||
-Uluskan, Seda Bayındır, 2010, Atatürk’ün sosyal ve kültürel politikaları. Ankara: AKDTYK Atatürk Araştırma Merkezi
|
||
Links
|
||
-https://vimeo.com/bibak
|
||
-http://www.ottomanhistorypodcast.com/
|
||
-http://gezimusic.tumblr.com/
|
||
-https://blog.iae.org.tr/sergiler/taksim-gezi-parkinin-tarihcesi-http://www.rusen.org/konargocer-turkler-kim/
|
||
-https://www.alevibektasi.eu/
|
||
-http://www.musikidergisi.net/
|
||
-http://teis.yesevi.edu.tr/madde-detay/asik-veysel-satiroglu
|
||
|
||
</div>
|
||
</div>
|
||
</div>
|
||
|
||
<div class="row">
|
||
<div class="col-md-10">
|
||
<div class="media_area">
|
||
<!-- <p>Related media</p> -->
|
||
<div id="showdadaloglu"><div class='text_audio'>Bio</div>
|
||
<!-- <audio id="audiodadaloglu" controls>
|
||
<source src="../static/audio/HNI_Soundinstall_3tracks_together1.mp3" type="audio/mpeg">
|
||
Your browser does not support the audio tag.
|
||
</audio> -->
|
||
<img src="../static/images/poem.png">
|
||
</div>
|
||
|
||
<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>
|
||
|
||
<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>
|
||
|
||
<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>
|
||
</div>
|
||
|
||
<div id="showmuharrem"><div class='text_audio'></div><iframe width="560" height="280" src="https://www.youtube.com/embed/Ffa2CONoW5Q" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div>
|
||
|
||
<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>
|
||
|
||
<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>
|
||
|
||
<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="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>
|
||
|
||
<!-- <img src="../static/images/test_small.jpeg" alt="poem"> -->
|
||
</div>
|
||
</div>
|
||
</div>
|
||
</div>
|
||
</div>
|
||
</div>
|
||
|
||
<div class="row">
|
||
<div class="col-md-12">
|
||
<div class="play-stop">
|
||
<div id="tracktime">0:0 / 22:39</div>
|
||
<a id="mBtn" onclick="PSFunction()">(Play)</a>
|
||
<button class="audio-button" onclick="document.getElementById('audioBG').volume -= 0.1">-</button>
|
||
<button class="audio-button" onclick="document.getElementById('audioBG').volume += 0.1">+</button>
|
||
</div>
|
||
<div class="main_audio">
|
||
<audio id='audioBG' ontimeupdate="document.getElementById('tracktime').innerHTML = Math.floor(this.currentTime/60) + ':' + (Math.floor(this.currentTime) - Math.floor(this.currentTime/60)*60) + ' / ' + Math.floor(this.duration/60)+ ':' + (Math.floor(this.duration) - Math.floor(this.duration/60)*60);">
|
||
<source src="../static/audio/FreshMythsDifferentTimes_performance_podcast1.mp3" type="audio/mpeg">
|
||
Your browser does not support the audio tag.
|
||
</audio>
|
||
</div>
|
||
</div>
|
||
</div>
|
||
|
||
</div>
|
||
<script>
|
||
var audio = document.getElementById("audioBG");
|
||
var btn = document.getElementById("mBtn");
|
||
|
||
function PSFunction() {
|
||
if (audio.paused) {
|
||
audio.play();
|
||
btn.innerHTML = "(Pause)";
|
||
} else {
|
||
audio.pause();
|
||
btn.innerHTML = "(Play)";
|
||
}
|
||
}
|
||
</script>
|
||
<script>
|
||
$(function(){
|
||
$("#includedContent").load("b.html");
|
||
});
|
||
</script>
|
||
|
||
</body>
|
||
</html>
|