Category: Culture/Art

  • Turkey to host welknown Muslim jazz musicians in Istanbul

    Turkey to host welknown Muslim jazz musicians in Istanbul

    Jazz in TurkeyIstanbul, the main cultural hub of Turkey, will host worlwide known Muslim Jazz musicians, in Ramadan within a festival named “Jazz in Ramadan”.

    Istanbul, the main cultural hub of Turkey, will host worlwide known Muslim Jazz musicians, in Ramadan within a festival named “Jazz in Ramadan”.

    It will be the first such kind of event in Turkey, gathering jazz music and Muslims in Ramadan.

    “Jazz in Ramadan” will take place in Istanbul between 14-31 August in two beautiful historic Sultanahmet venues will be the settings for eight concerts: the courtyard of the Archeological Museum and the glamorous gardens of Topkapi Palace.

    The festival, organized by Hakan Erdogan Production, aims to propose the idea that social peace comes first and foremost from the sharing artistic inspiration; so will feature world-renown jazz musicians from the Muslim world such as Ahmad Jamal, Anouar Brahem, Abdullah Ibrahim and Dhafer Youssef.

    On the other hand, the popular jazz musicians from Turkey such as Ilhan Ersahin and Aydin Esen will also participate in the event.

    Aydin Esen will perform his special program on Ramadan, named as “Aydin Esen Plays for Ramadan”.

    Besides jazz singers, the classical Turkish music group that is name after one of the biggest musician of Otoman-era, Dede Efendi, also will participate the “Jazz in Ramadan”.

    Dede Efendi Ensemble, lead by Munip Utandı, will take place in Archeology Museum.

    The last concer of the event is “Islam Blues” which will be performed by reed flute (Ney) player Kudsi Erguner.

    The catering will be available in Iftar times in the concerts.

    Festival program:

    14 August: Anouar Brahem Quartet / Archaeological Museum
    17 August: Ahmad Jamal Quartet / Topkapi Palace
    18 August: Dhafer Youssef Quartet / Archaelogical Museum
    20 August: Dede Efendi Ensemble–Munip Utandi / Archaeological Museum
    21 August: Ilhan Ersahin & Istanbul Sessions / Archaeological Museum
    24 August: Abdullah Ibrahim Trio / Topkapi Palace
    26 August: Aydin Esen Group / Archaeological Museum (Aydin Esen Plays For Ramadan)
    31 August: Kudsi Erguner Ensemble–Islam Blues / Topkapi Palace

    , 29 July 2010

    jazz in ramadan

  • TURKEY-EU RELATIONS: AN UNCERTAIN FUTURE?

    TURKEY-EU RELATIONS: AN UNCERTAIN FUTURE?

    coffee futuresWe would like to invite you to our workshop/conference and the screening of the film ’Coffee Futures’ by Dr. Zeynep Gursel from the University of Michigan. The film screening is sponsored by the Bielefeld Graduate School in History and Sociology and the event is organized with the support of the Institute for World Society Studies, ‘Changing Turkey in a Changing World’ (Royal Holloway, University of London) and Netzwerk Tuerkei.

    Title of the event:  “Turkey-EU Relations: an Uncertain Future?”

    Date: 30 August 2010, 1-7 pm   Venue: K4-129The event is open to public and free. For any queries please contact:  Didem Buhari (M.D.Buhari@rhul.ac.uk)

    Programme

    13:00 Opening remarks by Prof. Mathias Albert

    13:20 Screening of the film ‘Coffee Futures’

    13. 45-14.15 Open debate on the film

    14.15-14.25 Coffee Break

    14.25-16.25 FIRST SESSION: CRITICAL PERSPECTIVES: IDENTITY AND DIFFERENCE(S)

    14.25-14.55 Dr. Jochen Walter (Bielefeld): Turkey and Europe: inside/outside or in-between? On reading communicative distinctions

    14.55-15.25 Dr. Basak Alpan (METU): Demarcating political frontiers in Turkey: “Europe-as-hegemony” and discourses after 1999

    15.25- 15.55 Omer Ozgor (Bielefeld): The dilemma of religion regarding the Turkish membership of EU

    15.55-16.25 Didem Buhari (Royal Holloway– Changing Turkey) Turkey-EU Relations from World Polity perspective: the case of Ombudsmanship

    16.25-16.35 Coffee Break

    16.35- 18.35 SECOND SESSION: ACTORS, PROCESSES, REACTIONS

    16.3517.05 Rana Islam (Erlangen University– Netzwerk Tuerkei) “Turkey’s new foreign policy outreach and its compatibility with EU norms”

    17.05- 17.35 Gozde Yilmaz (Free University Berlin – Netzwerk Tuerkei): Compliance with Minority Rights in Turkey (1999-2010): Recent Revival or Stagnation?

    17.35- 18.05 Gunal Incesu (Bielefeld): Free movement for Turkish workers? Germany-Europe-Turkey and the question of free movement for Turkish workers

    18.05-18.35 Baris Gulmez (Royal Holloway – Changing Turkey): Understanding Euroskepticism in Turkey

    18.35-19.05 M. Sezer Ozcan (Bielefeld): The Historical Evolution of Turkey’s Europeanization Process

    How to get here:

    Bielefeld is easy to reach (see below) both by car and by train: every hour an intercity train on the route from Cologne/Bonn to Berlin stops at Bielefeld Hbf. Then you take Stadtbahnlinie 4 [Lohmannshof] till Universität (7 minutes).

    For maps, please click here.

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  • Exiled Turkish politician’s relatives trace his footsteps on trip to Malta

    Exiled Turkish politician’s relatives trace his footsteps on trip to Malta

    malta
    The 1905 schooner, Hulda, berthed close to St Paul's islands yesterday where family members of the late Turkish sculptor Ilhan Koman, renowned for merging art and scientific principles, met in Malta for a last family trip on board the boat they called home. Photo: Chris Sant Fournier

    Claudia Calleja

    Almost a century after a Turkish politician was exiled to Malta, his five great-grandchildren and their families are visiting the island aboard a boat they call home.

    Curious to see the island where their ancestor was imprisoned for 21 months, their trip to Malta is really part of their farewell to Hulda, the sailing boat brimming with childhood memories.

    Their late father, Turkish sculptor Ilhan Koman, renowned for merging art and scientific principles, had bought the Baltic cargo ship in 1965 when he moved to Sweden and met his second wife Kerstin. The couple turned the two-mast schooner into a home for their family.

    During this emotion-packed voyage, rooted in family ties, his five children will realise his unfulfilled dream: to take the boat to Turkey. “It’s a dream that our parents had,” his daughter, Elif, said as her brother Korhan added: “When he bought the ship he dreamt of taking it to Turkey but did not manage”. So, a few years ago, their brother Ahmet decided that he would ensure his father’s wish came true.

    In September, Hulda will be visiting the land their great-grandfather, Mehmed Seref, fought for to the extent that he was imprisoned in his quest for its independence.

    In 1920, when Turkey was under British invasion, Mr Seref, an MP in the last Ottoman Parliament, was involved in a movement that drafted a vow for independence.

    During a parliamentary sitting he deviated from procedure and read out the vow that was accepted by Parliament. Soon after, British forces disbanded Parliament and he was arrested and became one of 149 Turks exiled to Malta between 1919 and 1920.

    “In his diary he wrote about the Polverista prison which we now know houses the Vittoriosa local council… He also wrote that he was inmate number 2779 in cell 19 at the Niverola prison, which we did not manage to trace,” his great-grandson, Ahmet Koman, said. He hoped to organise a reunion of the relatives of the exiled men.

    “There were 149 people… If they have large families like ours we can invade Malta again,” he joked in reference to the Great Siege when the Ottoman Empire attacked the island.

    In fact, their large family – consisting of the five siblings, most of their 12 children, some with spouses, and three grandchildren – are now aboard the Hulda for the farewell sail.

    Apart from serving as their home, the boat was also an inspiration to Ilhan Koman’s works.

    “He always said that the Hulda was his biggest work because he was always working on it,” Elif said adding it was built in 1905 and demanded a lot of maintenance till today.

    “Our parents had bought the boat because they no longer afforded the house they lived in. At the time, there were lots of cargo ships available, so they took the opportunity and realised their dream to live on a boat,” Korhan added.

    Their father used to work on his art on the boat and on the quayside and, whenever they sailed around the Stockholm archipelago in summer, he took his art with him.

    Now, 24 years after his death, his art is travelling around 10 countries through the Hulda Festival organised by Ahmed to showcase his father’s works and celebrate the relationship between art and science.

    Through this project – realised with the help of the Turkish and Swedish authorities, the European Commission and the Istanbul 2010 European Capital of Culture Programme – the boat left Sweden in March 2009 and travelled through the Netherlands, Belgium, France, Portugal, Spain and Italy.

    Now it is in Malta, where the family gathered for the farewell holiday, after which the boat will go to Greece before reaching its new home in Turkey’s Istanbul where it will remain a travelling cultural and scientific centre… just as Ilhan Koman dreamed it should.

    , 19th July 2010

  • Greece claims Turkey’s intangible ‘Karagِz’ as its own ‘Karagiozis’

    Greece claims Turkey’s intangible ‘Karagِz’ as its own ‘Karagiozis’

    ATHENS: Greece will press its claim to a shadow puppet theater that UNESCO has deemed to be part of Turkey’s cultural heritage, the Foreign Ministry in Athens said on Wednesday.

    The puppet theater features Karagz (“black-eyed” in Turkish), a hunchbacked trickster who tries to make a living by hoodwinking Turkish officials and generally avoids all manner of honest work.

    The setting is loosely placed during the Ottoman rule of Greece, from the mid-15th to the early 19th century. The Greek version of the puppet theater features Karagiozis (Greek for Karagz).

    Infused with a cast of Ottoman-era social cliches – including a Turkish enforcer, a Zante dandy, a Jew and a rough-hewn Greek shepherd – it was a popular form of folk entertainment in Greece until a few decades ago.

    “The UNESCO convention on intangible cultural heritage enables neighboring countries to also access the same commodity,” Foreign Ministry spokesman Grigoris Delavekouras told a news briefing. “Greece has tabled a statement that the same practice exists in our country and a discussion … regarding this issue will take place in Nairobi in October.”

    He added that the Karagiozis shadow theater is an “inseparable” part of Greek culture.

    UNESCO last year placed Karagz on its list of intangible cultural elements, associating it with Turkey where the character was originally born.

    In Greece, however, the character remains a powerful icon of resistance to authority even though Karagiozis performances are now only practiced by a few enthusiasts. Karagiozis is also a common byword for “fool” in Greek.

    The origins of Turkish Karagz theater and its hide-crafted puppets are lost to history, though it is assumed that it was introduced to Turkey from Egypt.

    Shadow theater is believed to have first surfaced in India over 2,000 years ago. –AFP, with The Daily Star

  • “Discover the real Greece. Come to Turkey”

    “Discover the real Greece. Come to Turkey”

    In the article, “and Moreover” penned by Matthew Parris and published in the 12 August 1991 issue of The Times the author accuses Greece of pirating Turkish culture and tourism and he says that Turkish culture and tourism is far superior to Greek. The complete article is given below:
    Haluk Demirbag
    Turkish Forum Great Britain

    “……..and Moreover”

    by Matthew Parris

    Although I couldn’t be happier on holiday here, there is a problem
    about Turkey. For the turist, it lacks what the PR people would call
    “a corporate identity”. Japan is cherry blossoms and Mount Fuji, isn’t
    it? Australia is Kangaroos and Sydney Opera House, Beirut is bombs. So
    what is Turkey?
    This matters. Countries, like cigarettes, are sold on broad
    recognition. For mass-marketing, a nation needs an image. A tourist
    concept is at best a fraction of the truth and at worst a complete lie,
    but it is an important lie. Scotland has been sold for generations on a
    powerful myth involving kilts, bagpipes and haggis, Israel is currently
    running an embarassing campaign depicting the place as a sort of
    all-inclusive pizza of New Testament holiness, happy Arabs and
    skindiving off Eilat. I’m sure it sells.
    Spain, starting with Carmen, offers us the marketing man’s model:
    bullfights, cascanets… scant justice to the great spread of peoples
    and landscapes that is realy Spain, but potent. The United States shows
    that neither the country nor the image need be primitive for promotion
    under the banner of a clear corporate identity.
    And that is Turkey’s tragedy. There was a perfectly marketable and
    attractive image available-and the Greeks nicked it. A small, relatively
    unimportant country on the fringes of big, central, crucial Turkey has
    grapped our attention and elbowed its giant neighbour to the margins.
    It is one of the best sleights of hand in marketing history.
    The whole thing has been done on the backs of ancient Greeks and their
    ruddy Parthenon. But the modern Greeks have little connection with their
    ancient ones and occupy a different territory, which does happen to
    include Athens. Most of the best Greek ruins, let alone Roman ones, are
    in Turkey.
    So the classy handle to the Greek tourist package is fake. Now open
    the package. Ouzo, figs and bouzouki music? Much more of all three in
    Turkey, under different names, Idyllic Mediterranean coast, coves
    and beaches? Infinitely more of both, and better, in Turkey. Sun-kissed
    islands? Turkey has these too: and do you know where the Greek ones,
    which are largely barren, get the produce they sell to tourists as
    Greek food? White-washed houses with blue doors? Yoghurt? Kebabs?
    Goat’s milk cheese? All Turkish. Turkish food is similar to, but nicer
    than, the “Greek” food we love to eat in London, but find disappointing
    in Greece. I could go on. The scale of the larcency by which Greece has
    corralled for itself the tourist heritage of a whole section of the
    Mediterranean is breathtaking. And they complain about the Elgin Marbles!
    This is far worse: pirating of cultural copyright. And this, though
    it dwarfs modern Greece, is only the the bottom-left-hand corner of
    Turkey we are disscussing. I haven’t touched the Black sea or the regions
    of central and eastern Turkey, about which we know next to nothing in
    Britain.
    I blame Mrs. Thatcher. There are to many marginal north London
    constituencies with to many Greek Cypriot voters for Turkey to get
    so much as a friendly mention in Parliament. There seems to be no
    Turkish lobby in Britain. And now they are calling it “Greek” coffee!
    It’ll be Greek Delight next, mark my words, before the Greeks go on
    to claim little red fezzes and decorated slippers as theirs… oops
    sorry, a friend tells me the slippers are already sold to tourists on
    the Greek islands.
    You probably think I’ve been got at by the Turkish Tourist Board.
    Not so. I have simply been poked in the chest in too many barbers and
    fish and chip shops by the sons and doughters of the Greek Cypriots
    who shot at us through the Fifties before settling down to moan that
    Britain and the world should protect them from the Turks.
    The last straw came when, on finding that the best way to get here
    was to fly to a neighbouring Greek island and take the ferry to the
    Turkish mainland, where there is no airport, I was informed that
    the Greeks would confiscate my air ticket if I tried to return the same
    way. Are they afraid that tourists who visit Turkey will rumble the
    Greek Tourist Board conspiracy?
    If you have time to go to a Greek prison, you might try a test case
    with the European Court. Meanwhile, here is a suggested slogan for the
    Turkish Tourist Board: “Discover the real Greece. Come to Turkey.”
  • Elif Shafak: The politics of fiction

    Elif Shafak: The politics of fiction

    Why you should listen to her?

    Elif Shafak is the most-read female author in Turkey, where she is as well known for her descriptions of backstreets Istanbul as she is for her global and multicultural perspective. Her writing is at once rooted in her politically feminist education and her deep respect for and knowledge of Sufism and Ottoman culture.

    elif shafakUsing these paradoxes, she creates a third way to understand Turkey’s intricate history. Shafak’s international sensibilities have been shaped by a life spent in a very diverse range of cities, including Ankara, Cologne, Madrid, Amman and Boston. She has written novels in Turkish — such as her first work, Pinhan (“The Sufi”) — as well as English, including her most recent novel, The Forty Rules of Love, in which two powerful parallel narratives take the reader from contemporary Boston to thirteenth-century Konya, where the Sufi poet Rumi encountered his spiritual mentor, the whirling dervish known as Shams.

    Her uncommon political stances have not gone without controversy. At the publication of her novel The Bastard of Istanbul, which crosses two family histories, one Turkish, the other Armenian, she faced charges for “insulting Turkishness.” The case was later dismissed, and Shafak’s role in the rare combination of radical and sentimental writer remains uninterrupted. Shafak also writes song lyrics for well-known rock musicians in her country.

    “Her characters spend their time popping out of categories.”

    Andrew Finkel, Turkish Culture