Category: Culture/Art

  • Musa Dagdeviren recovers foods that Turkey forgot

    Musa Dagdeviren recovers foods that Turkey forgot

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    Musa Dağdeviren (right) in the kitchen at his restaurant Çiya Sofrasi. Photograph by Carolyn Drake.

    To get to the restaurant Çiya Sofrasi from the old city of Istanbul, you take a twenty-minute ferry ride to the Asian side of the Bosporus. On a cold Monday night last November, a friend persuaded me to make the trip with him. The place was pleasant but unremarkable, with a gray tiled floor, wooden tables, and no tablecloths or printed menus. There was a self-service bar with meze priced by weight. Hot dishes were dispensed at a cafeteria-style counter by a hatchet-faced man in a chef’s hat.

    The first sign of anything unusual was the kisir, a Turkish version of tabouli, which had an indescribable freshness and suddenly reminded you that wheat is a plant. The bitter edge of sumac and pomegranate extract, the tang of tomato paste, and the warmth of cumin, which people from the south of Turkey put in everything, recalled to me, with preternatural vividness, the kisir that my aunt used to make. Likewise, the stewed eggplant dolmas resembled my grandmother’s version even more intensely, somehow, than those dolmas resembled themselves.

    Food, I should clarify, has never played a large role in my mental life. I enjoy a good meal as much as anyone, but I get so confused by nutritional, budgetary, ecological, ethical, aesthetic, and time-management concerns that I often subsist for weeks on instant oatmeal and multivitamins. Having read Proust, and also neuroscientists on the direct connection from smell and taste receptors to the hippocampus, I have long been aware that eating is, for many people, an emotionally and mnemonically fraught activity. But, that night at Çiya, I viscerally understood why someone might use a madeleine dipped in tea as a metaphor for the spiritual content of the material world.

    Overwhelmed by the kisir and the dolmas, I wondered if the explanation lay in my past. Both my parents were born in Turkey, but I hadn’t been back for more than four years. I hadn’t gone to my grandmother’s funeral; I had been holed up in my apartment in San Francisco, writing a dissertation chapter about Proust—Proust, who wrote so movingly about losing a grandmother! Now, belatedly returning to my parents’ homeland, I found myself not on the Black Sea, where my grandmother was born and buried, or in Ankara, where she lived, or in my father’s home city of Adana, where my aunt still lives. Instead, I had come to Istanbul, a city with which I had many romantic associations but little practical experience. Perhaps the meze reminded me of an irretrievable time when my aunt and my grandmother had cooked for me, and I had been where I was supposed to be in the world.

    As the meal progressed, the tastes grew stronger and more varied. One inscrutable salad contained no recognizable ingredient except jewel-like pomegranate kernels, nestled among seaweed-colored, twig-shaped objects and mysterious chopped herbs, nutty and slightly bitter. A stew uniting beef, roasted chestnuts, quince, and dried apricots in an enigmatic greenish broth tugged at some multilayered memory involving my mother’s quince compote. I kept looking around the room for some clue to what was happening. Half the tables were empty; near us sat a few Turkish families, a handful of lone diners with books, and two Italian backpackers. There were some restaurant reviews on the walls, and a portrait of Atatürk, and a shelf with a row of jars bearing handwritten labels—“Dried Quince,” “Pickled Deer-Mushrooms,” and many terms I didn’t recognize, which I copied into a notebook.

    via Musa Dagdeviren recovers foods that Turkey forgot : The New Yorker.

    more: https://www.newyorker.com/magazine/2010/04/19/the-memory-kitchen

  • Sultan Abdülhamit II’s architectural legacy stands strong

    Sultan Abdülhamit II’s architectural legacy stands strong

    18 March 2012, Sunday / MEHMET SOLMAZ, İSTANBUL SUNDAY’S ZAMAN
    Late Ottoman İstanbul was renowned for its public buildings that were constructed during the reign of Sultan Abdülhamit II — the last sultan to exert effective control over the Ottoman Empire.

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    İstanbul’s century-old Haydarpaşa Railway Station was built during the reign of Sultan Abdülhamit II, in 1908. (PHOTO SUNDAY’S ZAMAN, M. FETHULLAH AKPINAR)

    Many of these are still in use in Turkey today and their stories have recently been compiled into a fascinating book by a university lecturer. A thick, hardcover volume written by Yıldız Technical University lecturer Fatmagül Demirel, “Sultan II Abdülhamid’in Mirası — İstanbul’da Kamu Binaları” (Sultan Abdülhamit II’s Heritage — Public Buildings in İstanbul) illuminates the construction history and present condition of 13 public buildings built in the time of Sultan Abdülhamit II.

    The book, which was printed and financed by the İstanbul Chamber of Commerce (İTO), has high quality gilded pages. It includes the following buildings: the School of Fine Arts (Sanayi-i Nefise), Sirkeci Train Station, the Royal Museum (Müze-i Hümayun), the Halkalı School of Agriculture, the Ziraat Bank building, the Almshouse (Darülaceze), the Ottoman Public Debt Administration Building (Düyun-ı Umumiye Binası), the Abdülhamit Children’s Hospital (Hamidiye Etfal Hastanesi), the Ministry of Forestry, the Mining and Agriculture Building, (Orman Ma’adin ve Ziraat Nezareti), the first Ottoman school of medicine (Mekteb-I Tıbbiye-i Şahane), the Ministry of Property Records (Defter-i Hakani Nezareti), the Telegraph and Post Ministry and Haydarpaşa Train Station.

    The book, as visually rich as it is informative, was published to showcase an era when Ottomans showed great interest in establishing new institutions and building strong and magnificent buildings for these institutions.

    Demirel explains in the book’s introduction, “In the changing face of 19th century İstanbul, instead of seeing huge monumental mosques, İstanbul lent itself to new buildings like military barracks, new palaces near the Bosporus, new school buildings, clock towers and new administrative buildings. Thus we can say that, after the reforms, the winds of change also affected the buildings.”

    Darülaceze — which derives from the Arabic words “dar,” meaning home, and “aceze,” meaning weak or incapable — is a homeless shelter for those without families, built by Sultan Abdülhamit II when the number of beggars in İstanbul increased enormously, most of whom were not disabled or orphaned, but simply preferred not to work.

    The historic Darülaceze comprised 18 smaller buildings, including rooms for the staff, four buildings for Muslims and four buildings for Christians. Under the dormitories, the buildings had dining halls and workshops where various goods were produced. The Muslim and Christian buildings both had public baths and two-story hospitals. Muslims were given a mosque and Christians were given two churches: one for Armenians and another for Greeks. Official records show that, after opening in 1896, Darülaceze hosted 9,394 people until 1909. In 1909 a total of 1,002 people were living in Darülaceze, including one Bulgarian, 50 Jews, four Armenian Catholics, 63 Armenians, 122 Greek Orthodox and 762 Muslims.

    Hamidiye Etfal Hastanesi was the first children’s hospital in Ottoman history and it now serves as a public hospital, called the Şişli Etfal Hospital. Sultan Abdülhamit II’s daughter, Ayşe Osmanoğlu, stated that her father decided to build a children’s hospital after his other daughter, Ulviye Sultan, died in a fire. Demirel quotes Osmanoğlu’s words in the book, in which Osmanoğlu reads her father’s words about the fire incident, “My daughter could not survive. I wonder how poor people’s children are growing up in hardship. I shall at least build a hospital to prevent other fathers from grieving in pain like me.”

    Furthermore, Demirel states that many of the Ottoman buildings that are now in use were built in the Sultan Abdülhamit II era. She adds that world-renowned architects built most of these buildings, including French-Ottoman architect Levanten Alexandre Vallaury, who taught architecture for 25 years in the School of Fine Arts; and Italian Raimonda D’Anarco, who built the Ottoman Bank building, the Pera Palace Hotel, the Tokatlıyan Hotel and the Ottoman Public Debt Administration Building.

    German architects also built many historic buildings in İstanbul, including A. Jashmund, Otto Ritter, Helmuth Cuno and Otto Kapp.

    Jashmund built the well-known Sirkeci Train Station, which was called “Osmanlı toplumu için batıya açılan kapı” (the door that opens to the West for Ottoman society). It was built on the historical peninsula on the European side of İstanbul in January 1871. It was not a coincidence for the Ottoman administration to build its first railway routes in the European part of the state. In fact, Ottomans intended to quickly transport their army with trains, when there was a need to suppress a possible rebellion.

    Turkey’s famous Haydarpaşa Railway Station, which is still in use, was built by German architects Ritter and Cuno. But Turkey’s busiest rail terminal is now taking a break in service for the first time since the station’s main building opened in 1908. Service has been interrupted so that improvements on the high-speed train (YHT) line to Ankara and the Marmaray project, which will connect İstanbul’s Asian and European sides via an undersea commuter train line, can be completed. The decision has sparked anger and frustration among people of all generations, many of whom see the move as typical of a trend pushing urban renewal in İstanbul to the detriment of preserving historic structures.

    The book contains detailed information history of many buildings, with hundreds of new and old photographs. The İTO stated that it plans to distribute the book all around Turkey soon.

  • Istanbul publication of book on Ali bey Huseynzade presented

    Istanbul publication of book on Ali bey Huseynzade presented

    A presentation ceremony of Istanbul publication of book entitled ‘Ali bey Huseynzade Turan’ has been held at the Writers Union of Azerbaijan.

    83507Azerbaijan`s MP Ganira Pashayeva and turkologist Azer Turan are the authors of the book, published by the Istanbul Turkish Hearths (Türk Ocakları) in the Turkish language, AzerTAj reports.

    Addressing the event, Secretary of Writers Union Arif Emrahoglu provided information about the book printed on the occasion of the 100th anniversary of Turkish Hearths.

    Chairman of Writers Union Anar highlighted the presentation of the book in Writers Union of Azerbaijan.

    Azerbaijan`s MP Ganira Pashayeva spoke of her meeting with Ali bey Huseynzade Turan`s daughter Feyzavar Alpsar.

    Chairman of Istanbul Turkish Hearths Cezmi Bayram, head of the World Young Turkish Writers Union, turkologist Azer Turan also made remarks at the event. Following the event, Chairman of Writers Union Anar presented the award established by World Young Turkish Writers Union to Cezmi Bayram.

    Cezmi Bayram was honoured with the award for his efficient leadership of the Istanbul Turkish Hearths, selfless service and contribution to Turkish world as well as Azerbaijan.

    News.Az

    via News.Az – Istanbul publication of book on Ali bey Huseynzade presented.

  • ‘Death was always with us – and that is a good thing’

    ‘Death was always with us – and that is a good thing’

    Nuri Bilge Ceylan: ‘Death was always with us – and that is a good thing’

    With his dark and witty new film in the cinemas, the Turkish director talks to Jonathan Romney

    Jonathan Romney

    Nuri Bilge AFPIt’s not your average police drama, that’s for sure. Not only do we never quite get to grips with what happened and how, but it takes well over an hour for the film to even reach the crime scene – in which time police and suspects drive around a Turkish mountain landscape in the dead of night, poking around in pitch darkness or arguing at length about yogurt.

    Nebulous as it might sound, Once Upon a Time in Anatolia is utterly absorbing. And it consolidates the status of Turkey’s Nuri Bilge Ceylan as one of today’s great directors – an artist whose unapologetic seriousness, tempered by mischievous wit, makes him as close as we have now to a Bergman or a Tarkovsky.

    Nuri Bilge Ceylan – pronounced “Bil-ger Jey-lan” – certainly appears high-minded, with little time for pulp pursuits. Once Upon a Time… is his second quasi-thriller; its predecessor, Three Monkeys, came across as a Bosphorus-bound variant on film noir. But don’t bother reaching for comparisons with Forties Hollywood thrillers or hard-boiled scribes such as Raymond Chandler or James M Cain. “I don’t read crime books, I never have,” he says. “But sometimes Dostoevsky novels … I mean, The Brothers Karamazov, that’s a crime story.” He must have watched some thrillers, at least? He furrows his brow, then volunteers, “The only one I’ve watched is Polanski’s film … what’s it called? Chinatown. And I didn’t like it that much.”

    Sitting in a London hotel, Ceylan – speaking mainly English – has a habit of chuckling quietly at questions, as if highly amused to be taken so seriously. The 53-year-old director has saturnine looks that worked to his advantage when he stepped in front of the camera in his own Climates. That film brought acting offers, but he has always turned them down. “My voice isn’t suitable – it’s not easy to understand,” he says in low, smoky (and perfectly comprehensible) tones.

    Ceylan came to cinema late, making his first short at 36. His first features – the self-financed Kasaba (1997) and its almost sequel, Clouds of May – were shot in the rural area around Yenice, in the Northern Aegean province of Çannakale, where he grew up. He has always made extremely personal films. His early casts included his parents, while 2002’s Uzak (Distant) – the film that made his international reputation – was shot partly in Ceylan’s own Istanbul flat, and could be read as a veiled self-portrait, its protagonist a world-weary bourgeois bohemian. Then came Climates (2006), a troubling depiction of a relationship’s breakdown. It starred the director and his wife, Ebru Ceylan, but was definitely not about their marriage, Nuri has always insisted: the pair are still together, and co-writers on his last two films.

    Once Upon a Time… is about a murder inquiry that takes time to get going – because the suspects can’t remember where the body is buried. The idea came from Ceylan’s other co-writer, Ercan Kesal, who, as a doctor, once took part in just such an investigation. Setting the hunt at night wasn’t a moody existential touch, Ceylan says, but the way it works in rural Turkey. “Public servants start doing these jobs after five o’clock in order to get overtime.”

    The course of events in Anatolia’s case history is open to conjecture, but Ceylan swears that he’s not out to perplex. “I don’t like puzzles. But in real life, we have to deal with half of reality, and we have the habit, or the reflex, of guessing the rest – because we’re always lying to each other; everybody’s protecting himself. If the audience doesn’t join in the process, it’s impossible to make it deeper, like literature.”

    Ceylan was born in Istanbul, but when he was two, his father, an agricultural engineer, moved back to his own home town, Yenice, and Nuri and his older sister had a rural upbringing. But the setting of Once Upon a Time… is nowhere near the countryside of Ceylan’s youth; Anatolia covers a vast region of western Turkey. While he no longer spends much time in his childhood haunts, Ceylan says rural Turkey brings him continual sustenance. “Where I lived, death was always with us, in the middle of life – and that’s a good thing. In the last few years, I went to the country for relatives’ funerals, and I saw that they created lots of rituals to cover the sadness of loss. Observing that really calms me.”

    As Turkish as it is, Once Upon a Time… has a decidedly Russian flavour, because of Ceylan’s passion for that country’s literary greats, Chekhov in particular. “Russian literature is … maybe the biggest influence in my films.” More than film? “Definitely. If I didn’t see reflections of Turkish people in Russian literature, I wouldn’t use it. But it’s valid for all humanity.”

    A consistent thread in Ceylan’s career is stills photography, which he took up in his youth, then briefly turned into a career before moving into film. Images of his work from the Eighties show a streak of Athena-poster kitsch, all sex and surrealism. But his recent output is something else: wide-format portraits of his country and its people; Bruegelesque winter views of Istanbul, towns and villages. Ceylan only practices photography now as an occasional hobby, he says. Nevertheless, he has collected his recent output in a book – Turkey Cinemascope (I haven’t seen it, but one proud owner advises me to invest in a sturdy coffee table before I even think of getting a copy).

    In the mid-1970s, a turbulent time for Turkish politics, Ceylan studied engineering at Istanbul Technical University. It was known as a left-wing university, and extreme-right gangs would demand to see students’ ID cards and beat the holders – or worse – if they were from ITU. “Every day there was fighting, shooting and killings.” Ceylan has his own hair-raising stories of beatings and narrow escapes. But he has never wanted to make a film about that period, nor about Turkish politics. In Once Upon a Time…, a prosecutor watches a policeman rough up a suspect, then drily comments, “Is this how we’ll get into the EU?” – but it’s a throwaway aside. Ceylan prefers the “inner life” to politics.

    The quasi-autobiographical Uzak, whose hero drifts moodily around a wintry Istanbul, suggests its director might be something of a hermit. A key location was Ceylan’s old flat, now the office of his production company. Back then, Ceylan was a one-man show; presumably, he now runs a bigger operation? “No, there’s not even one person working in my office. Even I don’t go there; I generally stay at home writing and reading. I like being alone.”

    In Turkey, Ceylan shuns the limelight. He never appears on TV or gives interviews, unless he’s taking a film to Cannes. “There I’m open to everyone … but in Turkey I shut myself off. I don’t generally answer the phone, unless I know it’s a friend.”

    Yet Ceylan is a more social creature than that suggests. He wrote his last two films in a trio with Ebru and Ercan Kesal. “We meet every day. We discuss a scene, and I give them homework. I also write and we read to each other … [but] the last decision is always mine.”

    You wonder, though, if Ceylan gets the last word when it comes to his and Ebru’s seven-year-old son. “It changes you, having a child. Suddenly you’re full of compassion. It’s changed my cinema life too. I take him to all the animations,” Ceylan says – but he won’t name any favourite titles. Of course not. Imagine what it would do to his reputation as a moody Dostoevskian if he confessed to being a sucker for Kung Fu Panda 2.

     

    ‘Once Upon a Time in Anatolia’ is on general release

    https://www.independent.co.uk/arts-entertainment/films/features/nuri-bilge-ceylan-death-was-always-with-us-and-that-is-a-good-thing-7576187.html

  • İstanbul-based film industry: a rising star worldwide

    İstanbul-based film industry: a rising star worldwide

    4 March 2012 / GAMZE GÜL, İSTANBUL

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    An increase in the number of TV shows and movies being shot in Turkey is expected to boost interest from international filmmakers in cooperating with the Turkish movie industry.

    İstanbul in particular has become a hub for actors and actresses, as well as those working behind the scenes to produce these entertainment products.

    After the implementation of an incentive package for the film industry by the government in 2004, the number of domestic movies produced in Turkey increased from 29 in 2005 to nearly 70 in 2011, data published by the İstanbul Chamber of Commerce (İTO) indicate. However, since 2005, 78 percent of movies produced in Turkey have received no support from the Ministry of Culture and Tourism.

    Association of Film Directors, Writers and Composers (SETEM) President Mehmet Güleryüz noted a rise in the number of young professionals working in the sector in recent years, both in front of the camera and behind the scenes. He has observed a correlation between a rise in the number of people following popular TV series and the increasing popularity of careers in film and television production.

    According to Güleryüz, movies produced in Turkey usually match their box office expectations. He believes the current growth in popularity was unexpected and that detailed plans need to be drawn up in order to ensure the sustainable growth of the industry.

    Between 2005 and 2011, 35,675 hours of Turkish TV programs were sold to broadcasters in 76 countries around the world, according to the Ministry of Culture and Tourism. Programs were broadcast in the Middle East, as well as Burkina Faso, Ivory Coast, New Caledonia, Niger, Senegal, Singapore, Somalia, Vietnam and a number of Balkan countries. Television companies in Israel and Greece have also purchased Turkish TV programs. Güleryüz pointed out that new rules had been introduced by the government in order to support the sector, but added that there has not been much progress in implementing them. He also highlighted the fact that associations representing each area of the industry came together under one roof about a year ago to defend the rights of individuals working in the sector.

    Association of Cinematographic Work Copyright Holders (SİNEBİR) President İsmail Güneş highlighted Turkey’s natural beauty, saying: “The country itself is a great movie production site because people have lived here continuously for 5,000 years. Wherever you place the camera, the chances of getting a great shot are high.” He said the government has neglected its role in advertising this aspect of Turkey, adding: “When foreigners want to produce a movie, they go to the Turkish consulate in their own country. Since the personnel working there do not have much knowledge of the sector, bureaucracy gets in the way of bringing international film producers to Turkey.”

    He pointed out the importance of the foreign language assets of many young professionals and believes working together would provide professionals from different countries the opportunity to gain mutual understanding of the production process and learn new techniques.

    Erol Bilge, a board member of the Casting Agencies Association (Kastder), said İstanbul is a crowded, dynamic and beautiful city with a young population, adding, “These people are eager to earn more money.” He said there are currently 60-70 acting agencies in Turkey with a total of around 10,000 members.

    Movie Producers Association of Turkey (SEYAP) Vice President Baran Seyhan believes the contribution of these movies and series to Turkey have an inherent social value that goes beyond their box office turnover. According to Seyhan, sometimes movie producers face bureaucratic problems, but with the implementation of minor changes, these can often be overcome. He also pointed out that associations are actively working to solve these issues and that the government must create a “working group” to explore these difficulties and other industry concerns.

    Association of Film Artists (BİROY) President Atilla Engin said the movie sector is not capable of financing itself, and directors, writers and actors often have to take part in the production of TV series to make a living. Engin believes the movie sector is not necessarily being supported by the government, as a lot of the financial support is funded through fees levied on movie ticket sales. He said: “There are issues regarding taxation and sponsorship. Laws and regulations need to be updated. Incentives and support must be given and technical arrangements must be made to sell Turkish movies abroad. The government should also work on copyright issues, including the distribution of copyright fees among the associations and unions.”

    via İstanbul-based film industry: a rising star worldwide.

  • Guns N’ Roses set for İstanbul concert this summer, website says

    Guns N’ Roses set for İstanbul concert this summer, website says

    (Photo: EPA)

    guns roses

    Guns N’ Roses will rock İstanbul this summer. Turkey will host the legendary American hard rock band for the third time when Guns N’ Roses takes to the stage July 6 in an as-yet-unspecified venue as part of an as-yet-unspecified open-air festival, according to the band’s official website, .

    The İstanbul concert will be preceded by an appearance on June 29 at the See-Rock Festival in Graz, Austria, and followed by a stadium gig on July 8 in the Bulgarian capital of Sofia, according to the website. The concerts will be part of the band’s “Up Close and Personal Tour,” which sees the band perform in several venues across the US in March.

    The band, formed in 1985 in Los Angeles, right now features only frontman Axl Rose from its original lineup. Best known for such hits as “Sweet Child O’ Mine,” “Welcome to the Jungle” and “Used to Love Her,” Guns N’ Roses will be inducted into the Rock and Roll Hall of Fame in April.

    Guns N’ Roses performed its first live gig in Turkey in 1993, a year when world-class acts including Madonna, Metallica and Bon Jovi, among others, made their first-ever Turkish appearances in unforgettable stadium gigs. The band also played İstanbul in July 2006.

    via Guns N’ Roses set for İstanbul concert this summer, website says.