Category: Culture/Art

  • Turkish pianist receives suspended jail term

    Turkish pianist receives suspended jail term

    By SUZAN FRASER — Associated Press

    fazilsay

    ANKARA, TURKEY — A Turkish court on Monday convicted top Turkish pianist and composer Fazil Say of denigrating religion through comments he made on Twitter and handed down a 10-month suspended prison sentence, his lawyer said.

    The 43-year-old musician who has played with the New York Philharmonic, the Berlin Symphony and other world orchestras was on trial for sending tweets last year, including one that joked about a religious leader and some Islamic practices.

    He is the latest in a series of intellectuals and artists to be prosecuted in Turkey for expressing their opinions and his case has raised further concern over rights and freedoms in the country, a democracy with a mostly Muslim population that seeks membership in the European Union.

    Say has also been a strong critic of the Islamic-rooted government of Prime Minister Recep Tayyip Erdogan, a devout Muslim who expounds conservative values, alarming some secular Turks who fear the government plans to make religion part of their lifestyle.

    In one tweet, Say joked about a call to prayer that he said lasted only 22 seconds. Say tweeted: “Why such haste? Have you got a mistress waiting or a raki on the table?” Raki is a traditional alcoholic drink made with aniseed. Islam forbids alcohol and many Islamists consider the remarks unacceptable.

    The charges against Say also cited other tweets he sent, including one – based on a verse attributed to famous medieval poet Omar Khayyam – that questioned whether heaven was a tavern or a brothel, because of the promises that wine will flow and each believer will be greeted by virgins.

    Emre Bukagili, a citizen who filed the initial complaint against Say, said in an emailed statement that the musician had used “a disrespectful, offensive and impertinent tone toward religious concepts such as heaven and the call to prayer.”

    Lawyer Meltem Akyol said the pianist’s sentence has been suspended for five years, which means he would have to serve the sentence if he reoffends in that time.

    The lawyer said Say has not yet decided whether to appeal the verdict. He has closed his Twitter account, however.

    In a statement, Say called the verdict “a sad one for Turkey.”

    “The fact that I was given a sentence despite my innocence is cause for concern with regard freedoms of expression and belief,” he said.

    The government meanwhile, appeared to distance itself from the verdict.

    “I would not wish anyone to be put on trial for words that have been expressed. This is especially true of artists and cultural figures,” Culture and Tourism Minister Omer Celik said. “But… this is a judicial decision.”

    Sevim Dagdelen, a German lawmaker who has campaigned for Say, called his conviction “a scandal,” and said that Turkey’s attempts to join the EU should be frozen. She also accused the court of making an example of Say to silence critics of the government.

    Turkey has a history of prosecuting its artists and writers.

    Turkish Nobel laureate Orhan Pamuk was prosecuted for his comments about the mass killings of Armenians under a law that made it a crime to insult the Turkish identity before the government eased that law in an amendment in 2008.

    In 2007, ethnic Armenian journalist Hrant Dink, who received death threats because of his comments about the killings of Armenians by Turks in 1915, was shot dead outside his office in Istanbul.

    Associated Press writer Frank Jordans in Berlin contributed to this report.

    via ANKARA, Turkey: Turkish pianist receives suspended jail term | Entertainment | Bradenton Herald.

  • Yozgat Blues: Istanbul Review – The Hollywood Reporter

    Yozgat Blues: Istanbul Review – The Hollywood Reporter

    Yozgat Blues: Istanbul Review

    12:50 PM PDT 4/14/2013 by Stephen Farber

    yozgat_blues_poster

    This slice of Turkish life meanders but achieves some pungent moments.

    Istanbul Film Festival

    Cast

    Ercan Kesal, Ayca Damgaci, Tansu Bicer

    Director

    Mahmut Fazil Coskun

    Mahmut Fazil Coskun’s film, which received its world premiere in Istanbul, follows a city slicker forced to relocate to the provinces.

    The story of a city slicker forced to relocate to the provinces has been retold many times, in many different countries. Yozgat Blues, one of the Turkish movies receiving its world premiere at the Istanbul Film Festival, discovers a tasty variation on this well worn theme.  Yuvaz (Ercan Kesal) is a music teacher in Istanbul who also performs occasionally as a musician. When a performing gig is offered to him in a city in the middle of the country, he decides to seize the opportunity, even though he is reluctant to trade the stimulations of the big city for life in a more remote outpost.

    Nothing quite works out as he hopes, but he does make some satisfying human connections in the town of Yozgat. Even though the story is universal, the details are probably too Anatolian to imagine much of a release for this movie outside Turkey. But it will win some nice reviews when it plays at other festivals around the world.

    Although Yuvaz is the protagonist, the film turns out to be a group portrait of half a dozen people whose lives intersect with his in Yozgat. Nese (Ayca Damgaci), his singing partner, develops an attachment to Sabri (Tansu Bicer), the barber who helps the balding Yuvaz with the toupee he wears while performing. The nightclub owner and a local radio host also become part of the ensemble as this shaggy dog tale unfolds. Istanbul audiences roared at droll comic touches that probably won’t translate as well to audiences in other parts of the world. But the characters and relationships are incisively drawn, and the film’s deadpan sense of humor tickles.

    One disappointment of the movie is that it relies heavily on closeups and gives us very little of the atmosphere in this section of the country. (Yozgat seems to be the Turkish equivalent of Tulsa or Des Moines.) That may be the point the director was trying to make, but the film still could have benefited from a sharper sense of the locale. In addition, the humor and pathos are both a little too low-key to register vividly. On the other hand, the performers make the most of the wry material. Kesal gives a sympathetic performance as Yuvaz, and the plump but attractive Damgaci plays nicely against Hollywood images of women. Bicer is equally engaging as the sheltered barber who still lives with his grandmother. At the beginning he has been set up on a date with a religious Muslim woman who is not as demure as her traditional garb suggests. She proves to be far too opinionated for Sabri, and he forges an easier connection with Nese, though this frustrates Yuvaz’s unspoken hopes for their relationship.

    The nightclub scenes capture the humiliations of performers forced to entertain bored audiences, and Yuvaz’s financial difficulties will resonate with aspiring actors or singers anywhere in the world. While some of the characters achieve a happy ending that they were not expecting, Yuvaz’s future is far more precarious. Despite its uneven script and direction, Yozgat Blues succeeds in capturing a bittersweet mood that will haunt viewers.

    Venue: Istanbul Film Festival.

    Cast: Ercan Kesal, Ayca Damgaci, Tansu Bicer, Nadir Saribacak, Kevork Malikyan.

    Director: Mahmut Fazil Coskun.

    Screenwriters: Tarik Tufan, Mahmut Fazil Coskun.

    Producer: Halil Kardas.

    Executive producer: Catharina Schreckenberg.

    Director of photography: Baris Ozbicer.

    Art director: Osman Ozcan.

    Editor: Cicek Kahraman.

    No rating, 96 minutes.

    via Yozgat Blues: Istanbul Review – The Hollywood Reporter.

  • Turkey Wired: By the Numbers

    Turkey Wired: By the Numbers

    A recent article in Variety gave some information about the TV and film industry in Turkey and about social media usage. Here’s the article. Here’s the info briefly (with my comments):

    Local movies took 47% of market share last year, despite only 70 local movies produced. (Fetih 1453 — see my review here — made $31 million.) Average movie ticket price is five bucks. But movie attendance is low (0.6 visits per person per year; 2.7 in the UK)

    Local movies took 47% of market share last year, despite only 70 local movies produced. (Fetih 1453 — see my review here — made $31 million.) Average movie ticket price is five bucks. But movie attendance is low (0.6 visits per person per year; 2.7 in the UK).

    Imax has two theaters in Turkey and plans to open three more. (This is particularly galling, given the razing of classic movie theaters like the Emek Cinema that date to the beginning of Turkey’s own movie industry, now sacrificed to the relentless construction of malls — into which Imax would fit perfectly, if completely without character.) The entire country at present has 2000 screens. I find it hard to imagine, despite Imax’s optimism, that the present government would like more opportunities for promiscuous mingling of the sexes in the dark.

    With 18 million TV homes, Turkey is one of Europe’s major markets. Half of the viewers use satellite TV or cable. More than 3 million subscribe to pay-TV. There are two dozen private national and hundreds of regional and local channels. “Who Wants to be a Millionaire” and “Pop Idol” are big, but the most popular show is Star channel’s historical soap, “Magnificent Century” (Muhteşem Yüzyıl), to which I have admittedbeing addicted.

    42.5% of the population [of 80 million, 70% living in cities] is aged 25-54; 26.2% are under 14. There are lots of cool, stylish kids with the latest smartphones. The country has among the world’s highest social media use through mobile Internet. An estimated 30 million Turks use Facebook. Turkey ranks eighth among nations in terms of Twitter penetration. Some 71% of Turkish Internet users go online every day for entertainment purposes. According to the BKM (Interbank Card Center) data, the Turkish e-commerce market reached a whopping $25 billion in 2012.

    Given that most people didn’t have home telephones in the 1980s, this is a remarkable transformation. (I still remember the first phone booths in Ankara appearing in the mid-1970s; their cords were immediately cut by vandals. Anyway, who could you call?)

    I’ve always believed that the introduction of the cellphone at the end of the 1980s and its immediate spread was a major factor in Islamist political organizing, making it possible to set up phone trees and mobilize large numbers of people through their personal networks. I remember the frustration of trying to do research in Istanbul in the 1980s by making appointments from a phone booth, the long lines, men swinging their worry beads at the glass if you were taking too long, and the frutsration of finding no one home of the few people who even had telephones that one could call. The unwritten phone booth etiquette rule was that you could dial one call (even if no one answered) and then you went to the back of the line again. Imagine doing business or political organizing like that.

    Istanbul is so big that sometimes I’d spend hours to travel to visit someone (not having been able to tell them I was coming) only to find them not at home. No wonder people took to cell phones like a third ear. The Turkish custom of hosting a visitor at your door, regardless of how inconvenient, is likely related to this inability to plan ahead. Now people don’t have to visit (and getting through traffic is even worse), so why not tweet and twitter instead, like birds comfortably perched on a power line high above the gridlocked city.

    http://kamilpasha.com/?p=6840

  • Turkey commissions 8 million square meters of Istanbul forest for park

    Turkey commissions 8 million square meters of Istanbul forest for park

    Turkey commissions 8 million square meters of Istanbul forest for park

    Around 8 million square meters of forested area in Turkey’s  Istanbul’s Beykoz district will be made into a park with a concept that represents the seven regions and 81 provinces, according to the Beykoz Municipality reports Hurriyet.
    A giant park will be built on each side of Istanbul, according to the Forestry Ministry’s project and one will be located in Beykoz district, Beykoz Mayor Yücel Çelikbilek told the Hürriyet Daily News yesterday.One of these parks will be located in Beykoz, near Elmalı Dam and bordered by the Çavuşbaşı and Yenimahalle neighborhoods, said Çelikbilek, adding that he lacked information about the other park’s location.
    This park will have a concept that represents the seven regions and 81 provinces of Turkey.
    The park will be open for daily use, and no residential buildings will be included. The park project, done on the instructions of Prime Minister Recep Tayyip Erdoğan, will bring vitality to the district as well as create employment for the locals, said Çelikbilek.
    The project is expected to be completed within two years and will include restaurants and cafes, exhibition areas, prayer rooms, greenery and fountains.

  • Interview: Turkish Granta

    Interview: Turkish Granta

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    This coming week will see the launch of the first issue of Turkish Granta, themed Identity, just in time for the London Book Fair, which will have Turkey as its Market Focus for 2013. The issue is composed half of translations from the archive of the English language edition – including Salman Rushdie, Martin Amis and Urvashi Butalia – and half of new work by Turkish writers. Here, online editor Ted Hodgkinson spoke to editor of Granta Turkiye, Berrak Gocer, about the strong showing of women writers in the issue, why Turkish identity is particularly complex and cosmopolitan and why the LBF matters for Turkish writers.

    TH: How did you first discover the magazine?

    BG: I came upon Granta when I was an undergraduate living in New York towards the end of 2000’s. It was also around that time that I discovered the Cabinet magazine, so it was a very enriching time for me, culturally.

    You’ve had pieces by Martin Amis and Salman Rushdie from our archive translated for this issue. As we near the launch of Best of Young British Novelists 4, how much did that first in the series, which featured them both, put those writers on the map in Turkey?

    That sort of direct and immediate response to international literary developments has become stronger here in the last decade or so. But of course, the more an author was featured and mentioned in prestigious magazines such as Granta, the more prominent he/she became in Turkey also. I could also add that Salman Rushdie has always been a topic of discussion with the infamous commotion surrounding The Satanic Verses. I’m sorry to say that only two Martin Amis titles are currently available in Turkish; we are hoping that the first issue of Granta Turkey will introduce him to a wider readership.

    There are some very strong pieces by female authors – Urvashi Butalia, V.V. Ganeshananthan, Tahmima Anam – in this issue. Was that a conscious decision or did you realise afterwards that they were all by women?

    I hadn’t actually realized that; but now that you mention it, our Turkish pieces include a lot of female authors as well. As you can tell, this was not a conscious decision, but perhaps we felt that women had a stronger voice, or just something more fresh to say when it came to the topic of Identity.

    Do the pieces by Turkish authors in the issue reflect a shared idea of Turkish identity? Or do they disrupt the possibility of having only one viewpoint?

    Again, your question helped me realize how different the concept of ‘identity’ is in Turkey. It is such a complex and dynamic issue. Leaving roles such as being a parent, an employee, a woman, a senior citizen etc. aside, when we talk about ethnic identity here, it is not that of a Turk, but rather that of all the Kurds, Armenians, Rûms, Circassians, Turks and other ethnic groups that live on this land that is today called the Republic of Turkey. I believe we have captured this cosmopolitanism rather well in our first issue. The writings, when they came together, made it very clear that there will always be a new approach to the issue of identity.

    What do you hope will come from Turkey being the focus of the London Book Fair this year?

    Half of the titles published in Turkey each year are translations – so Turkish publishers always had a working relationship with foreign agencies and publishers. But that relationship has taken another dimension, again in the last decade or so, with the rise of literary agencies and with publishing houses becoming more eager to see their authors published internationally. Turkish works, especially literary ones are today being published in a variety of languages. I think Turkey being the market focus of the LBF this year will enhance, and hopefully speed up that development.

    What is the theme of the next Turkish Granta?

    We will decide upon our next theme right after the London Book Fair, but currently we are toying around with the relation between authority and poverty – so it will be something along those lines. ■

    via Interview: Turkish Granta | New Writing | Granta Magazine.

  • Mosque conversion raises alarm

    Mosque conversion raises alarm

    Christian art in Byzantine church-turned-museum is at risk after controversial court ruling

    By Andrew Finkel. Museums, Issue 245, April 2013

    Published online: 11 April 2013

    244-mu-jp-new-haglia-02

    A unique ensemble of 13th-century Christian paintings, sculpture and architecture

    One of the most important monuments of late Byzantium, the 13th-century Church of Hagia Sophia in the Black Sea city of Trabzon, which is now a museum, will be converted into a mosque, after a legal battle that has dramatic implications for other major historical sites in Turkey. Many in Turkey believe that the Church of Hagia Sophia is a stalking horse for the possible re-conversion of its more famous namesake in Istanbul, the Hagia Sophia Museum (Ayasofya Müzesi).

    For around 50 years, responsibility for the Church of Hagia Sophia in Trabzon has rested with Turkey’s Ministry of Culture and Tourism. The courts now accept the claim made by the General Directorate of Pious Foundations, the government body responsible for most of the country’s historical mosques, that this has been an “illegal occupation”. The court has ruled that Hagia Sophia is an inalienable part of the foundation of Sultan Mehmed II who first turned the church into a mosque after his conquest of the Empire of Trebizond in 1462.

    “A building covenanted as a mosque cannot be used for any other purpose,” says Mazhar Yildirimhan, the head of the directorate’s office in Trabzon. He declined to speculate on whether this would mean covering up nearly half the wall space taken up with figurative Christian art, including the dome depicting a dynamic Christ Pantocrator. “There are modern techniques for masking the walls,” he says.

    The church was rescued from dereliction (it had been used variously as an arsenal and a cholera hospital) between 1958 and 1962 by the University of Edinburgh under the direction of David Talbot Rice and David Winfield. This included restoring the original ground plan and removing a prayer niche constructed into an exterior porch. The church also has an exterior frieze depicting “the Fall of Man”.

    “It is the whole ensemble—architecture, sculpture and painting—that makes Hagia Sophia unique,” says Antony Eastmond of London’s Courtauld Institute of Art, who is an authority on the building. “This is the most complete surviving Byzantine structure; there is no 13th-century monument like it.”

    Concern for the building is prompted by the fate of Istanbul’s Arab Mosque—originally a 14th-century Dominican church—also administered by the directorate. An earthquake in 1999 shook loose plaster from the vaults revealing frescoes and mosaics. The conservation of these paintings was finished last year but they were immediately re-covered.

    Like its namesake in Trabzon, Hagia Sophia in Istanbul was also turned into a mosque, after Mehmed II’s conquest of the city in 1453. It was famously made into a museum in 1935 by cabinet decree—unlike the informal arrangement in Trabzon. The re-conversion of Istanbul’s Hagia Sophia into a mosque has long been the “golden apple” sought by Turkey’s religious right.

    For such a thing to happen would have major implications for the country’s standing as a custodian of world heritage, according to one senior Western diplomat based in Istanbul.

    Yet already the current government has been working on a list of historical properties administered by the Hagia Sophia Museum. In January, Istanbul’s oldest surviving church, the fifth-century St John Stoudios, which became the Imrahor Mosque in the 15th century before fire and earthquake left it in ruins, was transferred from the Ministry of Culture and Tourism to the General Directorate, which plans to rebuild it as a mosque.

    Shrouded in secrecy

    Turkish scholars are also up in arms at the directorate’s decision to transform another ruin, the Kesik Minare in Antalya, into a mosque. The local chamber of architects has gone to court to prevent this happening. Originally a Roman temple, the Kesik Minare has a Byzantine, Seljuk and Crusader past. A plan had already been drawn up to turn the site into an open-air museum.

    Recent experience suggests that the directorate reconstructs mosques without regard for the millennia of history they contain. The restoration of the sixth-century Church of Sts Sergius and Bacchus (now the Small Ayasofya Mosque) was shrouded in secrecy and completed in 2006 without the academic community being allowed to conduct a proper survey.

    Similar complaints have been levelled against the repurposing of yet another Hagia Sophia—the fifth-century basilica in Iznik where the Second Council of Nicaea was held in AD787. It was a museum, but now it is a mosque. Contrary to accepted archaeological practice, the walls were capped with an attached rather than freestanding roof. “It has lost most of its original character,” says Engin Akyurek, an archaeology professor at Istanbul University. “There is a great difference between conserving a historical building and reconstructing it so it can be used as a mosque,” he says.

    via Mosque conversion raises alarm – The Art Newspaper.