october 2009
p ort f ol io
erol zafer ahmed
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University of Michigan German class exam video project
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Dooby Design Group
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Anatolian Voice Magazine of the Turkish American Cultural Association of Michigan
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Arts Administrators in Higher Education
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Arts Administrators in Higher Education
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University of Michigan Undergraduate English Association
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Ionnia International, llc
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Ionnia International, llc
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İlkim Ertürk and Serdar Arıcıoğlu Wedding on behalf of Dooby Design Group
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Dooby Design Group
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sİ zlerden çok uzaklarda da yaşasak, her zaman sevgİ nİ zİ ve arkadaşlığınızı bİ zİ mle
lkimertürk serdar arıcıoğlu • paylaştınız
ve
bİ zler de bu mutlu günümüzde bütün
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sevdİ klerİ mİ zİ aramızda görmek İ stİ yoruz.
iki–temmuz–ikibinsekiz çarşamba gecesİ kokteyl saat ondokuzda yemek saat yİ rmİ de ferİ ye lokantası, İ stanbul
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İlkim Ertürk and Serdar Arıcıoğlu Wedding on behalf of Dooby Design Group
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front
Aisha Holly
centennial plaza 124 pearl st, suite 503 ypsilanti, mi 48197 tel 734.961.4438 info@doobydesign.com www.doobydesign.com we specialize in custom invitations, floral design and decor & signature gift packaging back
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Dooby Design Group
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Ionnia International, llc
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ANATOLIAN VOICE
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Anatolian Voice Magazine of the Turkish American Cultural Association of Michigan
what Cover page from Issue 27 of the Anatolian Voice
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- · ·
TABLE OF CONTENTS
•
Imagining Reality İstanbul’da Eşsiz Eserler
President’s Letter
Schedule of Events Open Book Community News Consulting Project Tea and Quilt Crafting Party Zafer Bayramı Movie Nights Career & Leadership Panel Grassroots Networking Event İftar Dinner
Ramadan Bayramı Kurban Bayramı Republic Day Ball TACAM in the Media President Abdullah Gül’s Visit Meeting with Hon. Ali Babacan Meeting with Mr. Rıfat Hisarcıklıoğlu
Turkish Kitchen Editor’s Letter
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Anatolian Voice Magazine
what Table of contents from Issue 28 of the Anatolian Voice
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T HE
T HE
A RT ICL E S FA L L A RT ICL E S FA L L 07 WIN T E R 08
DAUGHT E R OF SULTA N ABDÜLMECİD II, SÉB AH & JOA L L I E R , PHOTOGR A PHE R . PORT E R , . 18801900, ABDULL A H F R È R E S , PHOTOGR A PHE R .
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Anatolian Voice Magazine
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Kültür Ocagı ˘
RADYO’DA
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TOP
i kler Çiçe R? n o O IY Lim Arzu LIN i— da ¸A C ecel akların C E a N f d k Gel a u t rak s D u Ya e Bı 1 M öksel —rar — eniml yle B ö G i A 2 unda Ben Bu B 3 F anga —rener — M E 4 ertab 5 S
KITAPLAR 1 Aşk
E L İ F Ş A FAK
2 Abdülmecit
HIFZI TOPUZ
3 Koloni 4 Çivisi Çıkmış Dünya
JE A N-CHR I S TOPHE GR A N G É
A MIN M AA L O U F
5 Frankenstein
M A RY SHE L L E Y
6 Dava
FRANZ KAFKA
7 Eldivenler, Hikâyeler 8 Bir Terapistin Arka Bahçesi 9 İyi Hayat
A L PE R H A S A N O Ğ L U
A L E X ROVIR A
10 Sahiler Düş Düşler Sahi
SIN
EM
AL
MUR AT HAN MUNG A N
Y ILM A Z E R D O Ğ AN
AR
DA NE YI
SEYREDIYORLAR? Sizi Seviyorum
&
Kanımdaki Bârut
kültür ocağı
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Anatolian Voice Magazine
what Page from Issue 31 of the Anatolian Voice
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TABLE OF CONTENTS
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24 The New Turkish School
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9 Kültür Ocağı
12 Unforgettable Haydarpaşa
President’s Letter
Schedule of Events Open Book Community News Turkish School Ramazan Bayramı “LebFest” Lebanese Festival İftar Dinner Ağustos Zafer Bayramı Kurban Bayramı Republic Day Ball
Turkish Kitchen Editor’s Letter 2
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Anatolian Voice Magazine
what Table of contents from Issue 30 of the Anatolian Voice. The following two pages include spreads from various issues of the magazine.
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Abdülhamİd ii wished to
schoolchildren, officers, clerics and clerks. Elements of Western fashion permeated the new military, educational and social arenas. The surrounding photos are from the large albums commissioned by Sultan Abdülhamid II and presented to the Library of Congress.
create a citizen beyond religion and race. Yet he wanted to preserve certain communities to show peaceful coexistence — a moved that upset these groups. Depicted around the central image are “costumes” from the Vienna World’s Fair Album. Pascal Sébah, photographer.
Abdullah Frères, photographer.
O On October , ,
photography was announced
in the Takvīm-i Vakayi‘ –
a new technology shaped an unfolding era
F E AT U R E ARTICLES
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The news of the invention of photography arrived in İstanbul on October 28, 1839, in the trilingual newspaper Takvīm-i Vekāyi‘. Soon after, savvy photographers opened up the first photographic studios in the fashionable district of Péra, and travelers armed with cameras came into İstanbul. All kinds of people — sultans, beggars, Christian men as Muslim women, priests and paşas — became the subjects for the thousands of photographs produced from the time of photography’s arrival in İstanbul in the 1840s. In between war and turmoil, change and progress the İstanbul studios gazed and grazed upon the İstanbul citizenry. It were as if a hand was coming down to pluck an image to present each time the camera shutter was released. Attitudes, identities and sit-
Armenians and Greeks following afterwards. As early as the 1850s, the wealthy Christian minorities, who did not have a taboo on the image like the Muslims and Jews, became the first patrons of photographs. Not until the 1900s, over sixtyyears after its introduction, did Muslims open their own independent studios. But let us not forget the fluidity of Ottoman İstanbul, the traditional Sultan Abdülhamid II actively employed Muslims, Armenians, English, Greek and French photographers to produce the plethora of propaganda during his reign. Each studio vied for this coveted position of court photographer to the Sultan, and each studio lost this title on one occasion or the other. With this volatility and competition, it is no wonder that studios and firms would close
Sultans, beggars, Christian men as Muslim women, priests and paşas
uations were in constant flux from the new ideas, institutions and inventions that crept into the city. Who were the people taking the photographs and who was wishing to be photographed? At the same time of the adoption of photography by the government, the élites and well-to-do of Péra society began to turn towards photography as yet another symbol of their wealth and cosmopolitan character. They crowded into today’s İstiklal Caddesi, once Grand Rue de Péra and went to the eager studios. Photography studios fi lled nearly every corner advertising their services in Ottoman Turkish, French, Greek, Armenian and Arabic. Likewise, the first photographers in İstanbul were the French and English with the
and reopen constantly until the end of the empire. Photographers in İstanbul took their studios and equipment to Egypt, Crimea, Europe, the Levant, ancient ruins and the wild. Their work encompassed travel photography, landscapes, environmental photography, social life, photojournalism, portraiture, war-photography and imperial commissions. İstanbul was not merely toying with a new technology, but becoming one of the active centers of photography, winning awards and drawing attention. The quixotic orient blended with the rational West in the minds of travelers and Ottoman citizens. We must begin to understand the reality and multiplicity of images
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F E AT U R E ARTICLES
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Putting together a program that is valuable for all learners has proved to be quite a challenge. Our students vary not only in age, but also in ability. This variety drives us teachers to work our hardest in order to make the lesson relevant and enjoyable for everyone involved. Most of our students are between preschool and third grade, and so we have concentrated on students learning the Turkish alphabet with us at the same time they are becoming familiar with the English alphabet at their schools. With this age group we are concentrating on mostly building vocabulary, especially items found all around the house. Generally Beste Windes has been working with the younger learners. While our older learners have benefitted from this review, they have also been eager to explore the language at a more advanced pace as well. Our teacher, Selin Doğan, conducts lessons with the older students, so quite often we in fact have two lessons going on in the same room at one time! While developing language is an essential element to our school, cultural literacy is also just as important, especially for children growing up removed from the culture of their ancestors. It is extremely difficult to acquire a mastery of a language without understanding the culture that exists, and constantly refines, the language. Therefore, throughout the year when Turkish secular and religious holidays occur we try our best to help students to understand the origins and meanings of these various holidays. In fact, our last lesson before our December break was devoted solely to explaining Ekim, Kasım, and
Kurban Bayramı. We were pleasantly surprised with some of the thoughtful and detailed questions we received from some of our older learners. Watching all of our learners develop and begin to use and develop their newfound skills has been very exciting for our team, and makes us even more excited for the following lessons. As we continue with our school throughout the winter, spring, and summer, we look forward to many more exciting lessons, and more challenges from our eager learners. We look forward to expanding the school to include various lessons in other aspects of culture, including the arts, cooking, and much more! If you, a friend, or family member is interested in joining the Turkish School, please check the website for more information on specific dates and times. All ages are welcome, our students range from preschoolers to graduate degree holders. Classes are absolutely free to members, and our more advanced learners only need to purchase the course book that we are just beginning to use. We are able to offer this class for free to members thanks to a generous grant from the Turkish Cultural Foundation. Due to the Turkish Cultural Foundation’s kindness, we were challenged to meaningfully revive one of the fundamental aspects of ’s mission. On behalf of Beste and Selin, I would like to say that we have been honored by the opportunity to share the Turkish language and cultures with ’s future generations, and we look forward to many happy times in the future with all of our learners in the weeks to come.
P
It has been an exciting fi rst four months as we have began ’ Turkish language and culture school! Our classes began in early October, and we have been meeting every other Sunday since that time. W R I T T E N BY JA SON W INDES TAC A M T U R K ISH SCHOOL COÖR DI NATOR
F E AT U R E ARTICLES
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İstanbul’s industrial past. As the city moves away from manufacturing and industry, the ports and factories are pushed farther and farther from the core of the city, while moving the working class with it. Historical İstanbul is becoming heavily gentrified. Once inside the station, glorious architecture greats the public.
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µ
What we need to see is that
the future of haydarpaşa is essentially a battle
over who
F E AT U R E ARTICLES
¶
will control İstanbul possessions. Haydarpaşa was officially put into service in 1908, amidst various cries to overthrow Sultan Abdülhamid II and general instability in the empire. This train terminal sat atop the grand ambitions of two Empires and was an arresting emblem of coöperation. The dazzling progression of world history embraced railway travel, abused it for murder and war, and finally abandoned it for new forms of transportation. As Haydarpaşa became slightly scarred, it today is part of the collective memory of Turkey and İstanbul. Even if memories can be forgotten, the current changes to this Teutonic Turk cannot be erased. If you’ve ever lived in Turkey for a long time, you must have passed through Haydarpaşa. You had the chance to be in the presence of countless people, whose blurry faces were characters in countless stories just like your own. The movement of people creating sinuous tracks in and out of the terminal is a hallmark of public travel. For in public transportation, the sharing of space is also the sharing of memory and experience with strangers. What happens when we loose these public spaces? Naturally, we still arrive at our destination. Yet Haydarpaşa will no longer great us and wish the young and old, poor and rich, men and women a safe journey to Ankara, Tehran or Sivas. It’s not
F E AT U R E ARTICLES
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because he is too old to be entertaining guests — he’s been built to serve the needs of nations, empires, peoples and ideas. Rather we’re tired of serving our needs around an old relic. Haydarpaşa’s form of modernity has been pronounced dead and
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F E AT U R E ARTICLES
A 26
a long affair
¶ A good city is never finished. İstanbul, or the world of Constantinople, provided countless travelers and members of the city an unending map: networked between tight alleys and grand minarets, the city pointed the travelers up and down, in and around the city, but never to a satisfying conclusion. ¶ We revisit the Golden City once again with a peculiar find. Miss Julia Pardoe (1804/6-1862) was a British traveller, historian, novelist and poet. Her interests ranged from Renaissance history of the Medicis to the intricacies of Ottoman living. She published a lengthy volume titled The Beauties of the Bosphorus about Ottoman life during her stay in the city. ¶ w.h. Bartlett, a noted Brit-
¶ Orientalist intrigue,
lush backdrops and voyeuristic views envelop the landscapes of İstanbul. One Englishwoman’s travels
are but one part in a never ending love of the golden city.
ish engraver created the engravings from Pardoe’s rich descriptions. The book went to print in 1838 with a reprint in 1854. I have selected some of the most interesting of the 80 or so images and have kept her spellings of names and places. * * * * * *
W R I T T EN B Y E R O L Z A F E R A H M E D
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Anatolian Voice Magazine
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ANATOLIAN ECOJUSTICE
W R I T T E N BY JA S O N W I N D E S
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The land that is now defined as the Republic of Turkey has an expansive history of human interaction with the land. The varied terrain has been home over the millennia to countless cultures, and some have proved themselves more sustainable than others. Today the nation state of Turkey is the seventeenth largest economy in the world, but at what cost to the land and the cultures of the people has this Western-imposed ranking been achieved? I will attempt to explain the conditions the Turkish people find themselves today, especially those citizens of school age, who are growing up with vast exposure to Western cultural influences unlike any generation before them. I will give examples of points where Western root metaphors are coming up against traditional cultures and ways of thinking, and hopefully point towards potential sites of resistance and revitalization necessary for a sustainable future. The Marmara is but one of seven generally accepted bioregions, the others being the Black Sea region, central Anatolian plateau, Aegean region,
eastern Anatolia, southeastern Anatolia and the Mediterranean coastal region. These regions are important to mention individually because their climates, flora and fauna vary significantly; which has resulted in very different interactions between people and the land between those regions. These differences will receive further attention later on. The Hittite kingdoms reigned between 2000 bce and 1000 bce. We are able to gain a significant amount of information about their culture due to the fact that they used a written language. The connection of the Hittites to their land can best be explained by their name, which can be translated to “those of the land of Hatti” (Bryce, 2002, 8). Their definition of themselves derived from the land from which they came, and geography rather than culture defined who was “one of us,” and who was “different.” Although the Hittite Empire at its peak covered nearly the extent of modern-day Turkey, and even down into modern Lebanon, their heartland was located in the bioregion of the Central
previous page Aerial view of Ankara from 2005. Image courtesy kari through esa. feature articles
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Anatolian Voice Magazine
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Invisible Children University of Michigan Chapter
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University of Michigan Global Sustainability class
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encompass
kaleido scope March 8, 2009 – 7pm Power Center
university of michigan
encompass
encompass
kaleido scope
2009
March 8, 2009 – 7pm Power Center
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University of Michigan Encompass Multicultural Dance Show
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Anatolian Voice Magazine, Issue 30, for feature article introductory page
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University of Michigan Office of International Programs Photo Contest
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writing sample
Unforgettable Haydarpaşa for
Anatolian Voice Magazine
what Short excerpt from an article on Haydarpaşa Train Station in İstanbul. Written February 2009.
There sits something strange in İstanbul. It is a building, of course, but it isn’t very Turkish, or Ottoman. Nothing about it mimics the elegant, proud skyline of minarets and Islamic mosques. In fact, it is a train station. But it is not an emaciated, fragile child. No, this building is a large German baron that sits proudly — although precariously — on the edge of the coastline, or rather on the edge between past and future İstanbul. This baron is Haydarpaşa.
Interesting, but why bother writing about a train stop? You may be missing the
point if you focus too narrowly. It is not Haydarpaşa, the lonely German baron, that is terribly important per se. It is what certain people are trying to do to Haydarpaşa, which has now become an unwelcome guest in İstanbul. What we need to see is that the future of Haydarpaşa is essentially a battle over who will control İstanbul. It questions the place of public space, the working citizens and our historical past. It is unforgettable today for this reason. What does it mean to abandon Haydarpaşa and neglect İstanbul? . . .
The dazzling progression of world history embraced railway travel, abused it
for murder and war, and finally abandoned it for new forms of transportation. As
editorial
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Haydarpaşa became slightly scarred, it today is part of the collective memory of Turkey and İstanbul. Even if memories can be forgotten, the current changes to this Teutonic Turk cannot be erased. . . .
Citizens, who were once a part of the Ottoman Empire and Turkish Republic,
were given spaces for public use. Mosques, soup kitchens, libraries, parks, fountains and train stations were built for everyone. This created the public domain of urban space. Yet this practice, so deeply historical and a part of Turkish, Islamic, Ottoman and Republican ideas, has largely been forgotten today. What happened to this idea that the fortunate should be obligated to give back to the workers, citizens and individuals who made their wealth? Or cared for their city? When was the last public hospital opened in İstanbul to compete with the many private ones? Did the Koç and Sabancı families establish public institutions or private schools? When was a park opened in the sweltering congestion of the city for all citizens, and not the polished shopping centers that reject the poor and reality while offering a sanitized version of “public” space?
The new ideas for Haydarpaşa envision exactly this isolation. İstanbul is slowly
becoming a boutique city for everyone but its working citizens. The fate of our German friend is tenuous and uncertain. Would the building be best served as a mall? A hotel for foreign-passport holders only? The jewel of a new private residential community, complete with marinas and docks for the tremendous amount of boatowners in İstanbul?
This is what happens when a space is no longer used for its original purpose. It
could have allowed Sirkeci and Haydarpaşa to stay alive within the city. Rather, we have decided to abandon the belief in public space. So our German guest can longer recognize the İstanbul he has called home.
Haydarpaşa must be freed from such short-sighted city planning. Whispers behind
his back come from people who have ignored the public process of constructing public space. Yet a fundamental change needs to happen within the democratic process of the city. Those with power must begin to earnestly listen to those without power. Until then we can only live with the memories of İstanbul.
Printed on Strathmore cotton-rag paper and typeset in 10/19pt Adobe Caslon Pro, a font designed by Carol Twombly for Adobe Systems in 1995. Bound in Trebizond silk thread in the Japanese style. * * * * * * * * * *
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