tag:blogger.com,1999:blog-75689891914548329622024-03-05T14:26:18.253+03:00ISTANBUL AND BEYONDTraveler's Tales and Translations of Turkish Lit, and Stories of the Deep South and KurdistanJeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.comBlogger200125tag:blogger.com,1999:blog-7568989191454832962.post-4813397646421533482021-05-22T09:48:00.007+03:002021-05-22T09:49:42.086+03:00Morning in Kadıköy<div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 36pt;"><span id="docs-internal-guid-e7652ace-7fff-5e99-931e-4e6bb45572d9"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">My window in the tiny Kadıköy apartment looks out onto the wall of the neighboring building, just three feet away across a small deck of sloppily placed tar paper. From the bedroom looking out, it becomes an abstract painting, a tableau in random geometric shapes by Piet Mondrian maybe. The square of the red plastic whatever in the bottom corner is a statement somehow, a bright contrast to the dirty beige of the rest of the canvas, a beige broken up with subtle gradations from the way the chipping plaster catches the sideways sunlight differently and from the darker mildew stains, but otherwise a uniform color in stark opposition to that corner of red. The line of the pipes on the left of the frame breaks the plane of the piece, and even offers one more splotch of color to break the beige, a curlicue of rust-brown wire that binds the pipe to the cement protrusion behind it.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I like the abstractions of these urban windows. When we visit the Lake House in Florida, we wake up to windows displaying a more bucolic scene, like Realist nature studies by English Romantics, Constable perhaps. He was known for “skying”--his study of clouds at various times of the day, and he would have loved the galleons of storms that sail through that Floridian blue, framed by the dense vegetation that crowds both sides of the main window in the master bedroom.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">But this Kadıköy abstraction is a thing to be meditated on. It offers a mental landscape without shape at first, something airy and anonymous, something that, if stared at long enough, begins to hum, charged as it is with the energy of a centuries old city, a buzz of tangled wires carrying stories and historical catastrophes and languages still striking against one another.</span></p><div style="text-align: center;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div></span></div>Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com2tag:blogger.com,1999:blog-7568989191454832962.post-84337418287467842052021-03-16T19:25:00.002+03:002021-03-16T19:25:13.165+03:00A long time<p> Greetings. I have not posted in forever and I don't even know if I still have followers or if I ever did, but I would like to announce I have a webpage now showcasing my published writing. It's www.jeffreywadegibbs.com. Hopefully, I will be returning to these pages soon.</p>Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com0tag:blogger.com,1999:blog-7568989191454832962.post-79801640090938470342016-06-13T20:50:00.003+03:002016-06-13T20:53:45.706+03:00The Murders We Commit--The Orlando Massacre, a letter home<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmLiH29lxNib5PQQOPsE8HXK3h_xU_xT-AQ6zXVYRiy7fvM0zB80ma3CTFQvTQNn95HdOTrFZX6Cwoom-aTshVnVyU4V1VX_VTFVcYL5qKhp12YtZ-oUc1GVrWD1lGFCyDYSZfsqIPspc/s1600/Rainbow_flag_breeze.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmLiH29lxNib5PQQOPsE8HXK3h_xU_xT-AQ6zXVYRiy7fvM0zB80ma3CTFQvTQNn95HdOTrFZX6Cwoom-aTshVnVyU4V1VX_VTFVcYL5qKhp12YtZ-oUc1GVrWD1lGFCyDYSZfsqIPspc/s320/Rainbow_flag_breeze.jpg" width="320" /></a></div>
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<span class="s1">“Call them mommy, now.”</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">“I’m tell I’m bathroom.”</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">“He’s coming.”</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">“I’m gonna die.”</span></div>
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<span class="s1">I have been thinking on these words all day, the last of a series of texts from Eddie Justice to his mother, Mina. They could be a poem, something you would carve in marble and set out for eternity. The simple, awful message they carry is almost all the explanation you will ever need for the evil unleashed in Orlando.</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">Jesus.</span></div>
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<span class="s1">From here, I was about to launch into something about why I believe this is so, about an “innocent life snuffed out” and how the innocence is revealed in the boy’s appeal to his mother, the universal desire not to die, the strangely garbled “I’m tell I’m bathroom.” (Were his fingers trembling too feverishly as he typed?) But words have become cliches—useless, unliving, ways of enabling the demons in our nature to hide and flourish because they are never called to account. “Innocent lives”, “Senseless slaughter,” “A nation mourns”, “Massacre”, “Terrorism,” all those politician and media buzzwords. These are catchwords in an unholy madlb. </span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Something is terribly wrong in America and we have become a nation of children with our fingers in our ears and our eyes squeezed shut as the bodies fall before us. A mass grave. The cliches make them numbers in a newspaper. We don’t really care, not really. As long as it’s not us, as long as it’s not one of our friends, as long as its one of <i>them</i>.</span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">We have a lot to answer for. This terrorist act, this mass killing, like all the others, did not just have one cause. Don’t blame the Muslims, but do blame the glorification of persecution by religious leaders of all faiths. I know a lot of Christians are telling themselves "it’s sad, but the gays deserved it." The sentiments of the father of the killer, that he “did not know and did not understand the anger in his son’s heart. Only God can punish homosexuals” is a refrain I have heard over and over again all my life in churches throughout Central Florida. And it is hardly a sentiment limited to religion. Being violently anti-gay as a boy growing up was so common, so part of the background, that I never noticed what a bigot I was. It's epidemic, no matter how positive the changes have been in the last decade. </span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">And yes, the murderer may have had a mental illness, and he may have been inspired by radical Islam, and he may have this and he may have had that. But really, in the end, what gave all his hatred and insanity its power to kill masses of people was an assault rifle, legally purchased by a man being investigated by the FBI on suspicions of terrorism multiple times.</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">And the solution isn’t prayer. No amount of prayer is going to bring back the dead or stop the next massacre. All the prayer for Christina Grimmie, the singer shot in Orlando a few nights before the Pulse terrorist attack stopped nothing. The solution is the same solution that paves our roads, protects our rights in court and provides for the national defense—politics.</span></div>
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<span class="s1">In December, the Senate voted down a law that would have banned individuals on the terrorist watch list from purchasing guns. It was part of a bill proposing stricter background checks for firearm purchases. Senate Republicans defeated the measure – including New Hampshire’s Kelly Ayotte, Wisconsin’s Ron Johnson, Pennsylvania’s Pat Toomey, and Ohio’s Rob Portman. </span></div>
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<span class="s1">Adam Gadahn, adviser to Osama Bin Laden had this to say in a 2011 English language video advising Al Qaeda terrorists on jihad,</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">“In the West, you’ve got a lot at your disposal. Let’s take America for example. America is absolutely awash with easily obtainable firearms. You can go down to a gun show at the local convention center and come away with a fully automatic assault rifle without a background check and most likely without having to show an identification card. So what are you waiting for?”</span></div>
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<span class="s1">I don’t want to take away anyone’s guns. I want to take all reasonable measures to make sure that we aren’t putting them in the hands of those who want to kill. But there is a current of fanaticism that won’t let this happen. I have no hope that they will see reason, put out their torches, put down their pitchforks, and go home to a reasoned debate, to a sense of responsibilty for the bodies lain at our feet.</span></div>
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<span class="s1"></span><br /></div>
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<div class="p1">
<span class="s1">Elie Wiesel said, “To forget a holocaust is to kill twice.” For us in the States, it is to kill over and over again.</span></div>
</div>
Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com1tag:blogger.com,1999:blog-7568989191454832962.post-35957535401391712612016-01-21T20:17:00.001+02:002016-01-21T20:17:08.782+02:00A Small Murder of Empathy-Diyarbakır Now<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZz1_Ril09yfShxH2EuGbZOOxnY7NJ0jFaJGlimvbRAxCBJUlrUaCi9h0VSpKGLaJqvMdPHGkgpgkWkIzdXo4YlNfKfpTDL39IsG-PvQn2_2AMAKL1WZivb2qtItGf2BqDHAOBxNC4ARQ/s1600/diyar.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZz1_Ril09yfShxH2EuGbZOOxnY7NJ0jFaJGlimvbRAxCBJUlrUaCi9h0VSpKGLaJqvMdPHGkgpgkWkIzdXo4YlNfKfpTDL39IsG-PvQn2_2AMAKL1WZivb2qtItGf2BqDHAOBxNC4ARQ/s320/diyar.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Diyarbakır' old district (SUR) before the full war started</td></tr>
</tbody></table>
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<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"><o:p> </o:p></span><span lang="EN-GB"></span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">At the end of last November, I took a trip
to Diyarbakir and documented it on this blog, day by day, in a series I called “The
Diyarbakır Diaries.” The day we left was the day human rights lawyer Tahir Elçi
was assassinated. And ever since then, the beautiful old city has been under
siege by the Turkish military. And not just old Diyarbakir but cities all over
the Southeast--Cizre, Silopi, Silvan. The situation is so obscene that I have been silenced. Silenced
by horror, shame, and a sense of the atrocities being too big for me to write
about. I don’t have the expertise to begin a proper blog entry about it. To truly grasp the situation there is so much to know--the AKP's relation with ISIS, the persecution of academics who signed a peace petition, the lynch campaign against a TV show for taking a caller that pled for an end to the violence, the history and tenor of Turkish nationalism. </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">When it comes to this war, I know
what I read in Amnesty reports, in news reports and analyses and from first hand accounts from in-laws and friends in the area. It is enough to take the breath away, but not enough to really inform. But I have to write something. And so I will tell you the story of how I witnessed tonight someone completely murder empathy.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">But I need to give you some context. Let's start with graffiti.</span><span lang="EN-GB"><o:p> </o:p></span><span lang="EN-GB">In
<a href="http://www.radikal.com.tr/index/umit_kivanc/">this article</a> </span><span lang="EN-GB">writer Umit Kıvanç addresses the graffiti sprayed
by “security forces” all over the walls of cities in the Southeast. One of them
says, “Armenian bastards,” referring to the Kurds of the town.</span></span></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihBz2QCem5qWBRhDVxOYAw8n9YhrhIrLMZOanwpsc4m46vLAkK94GbNWhcwo0yWp2nRS8-fEYNCAZxs0Ttop8MMedpfP08Cbe2FMjgB98RYNGi7ApIAZTrOVPti1WJ7zz4MGexX9mRyw8/s1600/armenian.JPG" imageanchor="1"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihBz2QCem5qWBRhDVxOYAw8n9YhrhIrLMZOanwpsc4m46vLAkK94GbNWhcwo0yWp2nRS8-fEYNCAZxs0Ttop8MMedpfP08Cbe2FMjgB98RYNGi7ApIAZTrOVPti1WJ7zz4MGexX9mRyw8/s320/armenian.JPG" width="320" /></a><div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">The word “Armenian” is more
loaded than I can ever explain to someone who doesn’t live here. It is a symbol
of a denied Holocaust—a massacre so great and so ugly that its scars still feel
fresh in the Southeast, with a denial every bit as rabid and aggressive as the
genocide itself. Nationalist Turks use “Armenian” as a swear word. It contains
reminder and insult and threat. Otherwise, what is it doing here, smeared on
the walls by security teams in a Kurdish town where the ancestors of the people
addressed were probably taking part one way or the other in the genocide as
perpetrators? AKP Adana governor, Hüseyin Sözlü, clears things up for you if you have doubts.
He said, and I quote, from a speech early this month:</span><span lang="EN-GB"><o:p> </o:p></span><span lang="EN-GB">“Armenians were used by imperialist powers and paid a heavy price. Now they want again to
agitate our brothers against us as they did with the Armenians. Maybe our brothers
will not fall for this, but it should be known that terror and its offshoots
(referring to the PKK,the HDP and God knows who else) are using our brothers to
try and pursue the same thing that the Armenians wanted to do in 1914 and 1915.
Our citizens must not fall for this. If terror and its offshoots come to do
this, then we as the government and as a people know how to handle it.”</span><span lang="EN-GB"><o:p> </o:p></span><span lang="EN-GB">The call to genocide was made directly by
people on the street interviewed on government run <a href="http://www.aktifhaber.com/ahsen-tvde-sok-sozler-soykirim-yapalim-dedi-1286064h.htm">Akit TV</a>. And dear readers, do not get confused by the format of a street interview. Nothing this "news" agency does is random. This is not an American paper but a mouthpiece for the government. </span><span lang="EN-GB"><br />The boy interviewed calls for the genocide of the Kurds, that they be purged like a virus from the body.<a href="http://www.aktifhaber.com/ahsen-tvde-sok-sozler-soykirim-yapalim-dedi-1286064h.htm"><br /></a></span><span lang="EN-GB"><o:p> </o:p></span><span lang="EN-GB">Inflated rhetoric in Turkey is a sickness
and the Kurdish movement uses the word genocide a little too freely for my
taste—calling a purge a “political genocide” for example—but of course this is
not coming from the Kurdish movement at all, but from the government.</span><span lang="EN-GB"><o:p> </o:p></span><span lang="EN-GB">Which is reprehensible and horrific, but
not surprising at all. I have read pretty much everything these is to read on
the Armenian Genocide and its denial, and it seems to me that what is really
happening is not so much a denial of the genocide itself but rather, amidst a lot
of hemming and hawing and amateur sophistry, a lack of understanding that what
happened was wrong in the first place, that this crime named “genocide” and the actions of the
İttihad and Terakki government in 1915 are in fact one and the same thing, that exiling
a population of people with the intention to exterminate them, no matter how
justified you "feel", is a crime. And if you never think it is wrong, you don’t
find any problem with repeating the procedure. And Turkey's history is filled with all sorts of mini versions of 1915; The Dersim massacres in 1938, the September 6-7 "Events" of the fifties, the razing of villages in the 1990s--all following a similar pattern of establishing political justification through deliberate provocation or outright lying (September 6-7 especially), whipping up public outrage and then slaughter.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">Back to today.</span><span lang="EN-GB"><o:p> </o:p></span><span lang="EN-GB">In September of 2015 we heard the horrific
story of </span><span style="background: white; color: black;"><a href="https://www.youtube.com/watch?v=u7mq3VshQrs">Cemile Cizir Çagırga</a>, a
ten year old girl shot in the street by security forces during one of the
dozens of military curfews. Her mother had to keep Cemile’s dead body in a
refrigerator because she would have been shot as her daughter had been if she’d
ventured outside--think about that, you put your 10 year old daughter's corpse in a refrigerator and keep her there for days. Her father says she was shot 8 or 9 times from an armored
vehicle.</span> </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background: white; color: black;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background: white; color: black;">And since then it seems
not a day goes by when a similar story appears on Twitter or Facebook or in the
independent online news sites (but not the self-censoring or directly censored
newspapers). Twitter, for example, is full of hashtags calling for an ambulance. Early this
week a boy shot in the street by snipers needed to be taken to the hospital but
police would not allow ambulances to pick him up. A hashtag started #HüseyinPaksoyiçinambulans
(ambulance for Hüseyin Paksoy) but the security forces never let one through. They argue that maybe they are transporting PKK in those ambulances and that's why they refuse passage. This absurd rationalization is another thing that reminds me of the genocide. If this were really the case then wouldn't they stop and search the ambulances? And couldn't they send their own people into the street to save these children that have been shot, if that's really what they wanted to do? </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background: white; color: black;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background: white; color: black;">Security forces were finally ordered to by the European Court for Human Rights but it was too
late. He had bled to death in the street. Tonight, as I write, another
ambulance hashtag has begun for female university student Helin Öncül,
currently dying in the street of Cizre. Everensel Newpaper reports that three
women tried to carry her to the hospital after a decision made by the
same European Human Rights Court to do just that, but they were raked by
security gunfire and have not been heard from since. A <a href="http://mobile.reuters.com/article/idUSKCN0UY288?feedType=RSS&feedName=worldNews">group from the HDP</a> (an
opposition party) went to Cizre to rescue people injured in the streets but
were fired upon as well.<br /><o:p></o:p></span><span style="background: white; color: black;"><o:p> </o:p></span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"><span style="color: black;">I keep saying "Security Forces" because it's not clear, to me at least, just who is leading the attack. At times its soldiers in tanks. At times it's "special teams" made up of people of unknown background. Some suggest they are ISIS--an exaggeration, I'm sure--but they leave inflammatory Islamist graffiti on bombed out walls. Many in the military are speaking out against, if not the spirit of the attacks then <a href="http://www.al-monitor.com/pulse/originals/2016/01/turkey-sultanahmet-bombing-how-ankara-handle-isis.html">the wisdom of them from a military angle.</a> Many feel that the fanatical fight against the Kurds causes the state to dangerously ignore ISIS. So who are these special forces? Again, I am reminded of the "Special Teams" of 1915.<a href="https://www.youtube.com/watch?v=u7mq3VshQrs"><br /></a></span></span><span lang="EN-GB"><o:p> </o:p></span><span lang="EN-GB">For a dizzying list of atrocities and
abuses you can check the understated Amnesty report <a href="http://www.amnestyusa.org/news/press-releases/onslaught-on-kurdish-areas-in-turkey-putting-hundreds-of-thousands-of-lives-at-risk">here</a>. It documents over 162 civilian deaths, many of whom died by sniper fire in
areas far from military clashes. The litany of crime is dizzying, and the
bloodthirsty rhetoric of the government is alarming. The President used the
word “liquidation” in a speech today and said negotiations with the PKK and the
HDP were dead. Frederike Geerdink gives an excellent summary of the situation <a href="https://www.beaconreader.com/frederike-geerdink/nine-questions-and-answers-to-shed-a-light-on-the-violence-in-southeast-turkey?ref=profile">here</a>. <a href="https://www.beaconreader.com/frederike-geerdink/nine-questions-and-answers-to-shed-a-light-on-the-violence-in-southeast-turkey?ref=profile"><br /></a></span><span lang="EN-GB"><o:p> </o:p></span><span lang="EN-GB">What I hear a lot from my Kurdish inlaws
and HDP friends is that people in the West of Turkey are indifferent and don’t
care. They go on about their lives, eating in high priced restaurants, going to
night clubs, while people are dying or exiled in the East. So this evening, on
the service bus home, I was excited to here one of our teachers, a classic
Western white Turk, fly into a rage about the situation in the East.</span><span lang="EN-GB"><o:p> </o:p></span><span lang="EN-GB">“What is this stupid government doing!?” he
shouted. “There are people dying in the East. Our soldiers are killing them! It has to stop. They need to take care of the situation out there. ‘Special Forces’! They
are murder squads!”</span><span lang="EN-GB"><o:p> </o:p></span><span lang="EN-GB">And then our driver, a Kurd from Bingöl, a man I have known for 6 years and with home I have swapped village stories, tells him that he is mistaken. The government is fighting a just war. The PKK are funnelling thousands of weapons into
these towns. The people shot are allowing guns and missiles to be stored in their houses.
The stories of security forces firing on people in the streets are all lies
concocted by the Kurdish party. They want to divide the country. All typical
AKP drivel, except he speaks AS a Kurd. And so the teacher who was so upset about the
killings in the East isn’t sure anymore.</span><span lang="EN-GB"><o:p> </o:p></span><span lang="EN-GB">“You have family out there, don’t you? You
know I guess,” he says.</span><span lang="EN-GB"><o:p> </o:p></span><span lang="EN-GB">And our driver continues. “I don’t have family
in Diyarbakır, but yes, out East. And I know how sneaky these terrorists are.They fire on civilians and then blame our security forces. But what are
soldiers to do? They terrorists are flocking over the border by the hundreds!”</span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">"But how can you believe all that."</span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">"I don't just believe it. I know. I've seen it myself. They will tell every kind of lie to get sympathy. They are terrorists. The HDP parliamentarians especially, all deceiving people like you. You can trust only one thing--that they will do anything to split the country."</span><span lang="EN-GB"><o:p> </o:p></span><span lang="EN-GB">This is all fantasy. Human Rights Watch,
Amnesty, The European Human Rights Courts, reporters on the ground from Vice, Reuters, Al Jazeera and everyone else have quite a
different view of what’s going on. </span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">But they don’t know, see? Our driver is <i>from</i>
there. He says he's got the inside scoop. He’s seen it with his own eyes. And so he uses his KURDISHNESS to squash the
budding empathy of this Western Turk.</span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">And it breaks my heart. </span></span></div>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com0tag:blogger.com,1999:blog-7568989191454832962.post-89697050670025174112015-11-27T22:23:00.002+02:002015-11-27T22:25:12.750+02:00Diyarbekir Diaries – Rojnivîska Amedê 5<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj119A6abmffR38EASMjXB1FuhIclgh5VSI6A5I252DggBYGQ6jTM6-cRmTgIdV-25waYE8FL-ygBq2XpgFlaVKcR7J-Wiv9zRBMPTjDP-T6wtwUwvnPm_orvN-j4sg_Enitx9rFAVvaVU/s1600/FullSizeRender+53.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj119A6abmffR38EASMjXB1FuhIclgh5VSI6A5I252DggBYGQ6jTM6-cRmTgIdV-25waYE8FL-ygBq2XpgFlaVKcR7J-Wiv9zRBMPTjDP-T6wtwUwvnPm_orvN-j4sg_Enitx9rFAVvaVU/s320/FullSizeRender+53.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Acacia in Ekim Park-Diclekent--this park is where the teens go to make out</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
Day 5 </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="mso-tab-count: 1;"> </span>Maybe
you have noticed that I have called this city three different names. One is
Amed, the Kurdish name of the city and the one that most activists prefer.
Another is Diyarbekir—which was the original name and meant “Land (Diyar) of
the Bekir tribe.” The last is Diyarbakır, the official name on Turkish maps.
Atatürk coined this name when the republic was founded, presumably to make it
sound a bit more…Turkish? It would mean “Land of Copper.” But “diyar” is still
not a Turkish word.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4cg5VQJo6_odC42pC91sjOuWNoU_GSPXZX6LrHwYnlxQsLrs37yoSVq2tnUk_w62uZeXWXhQyAAf7XyXxU-JocohekyG2nzF-iF6V03voeXipTdrqih8PCp-WqJhGAi0trNm53FC_VYI/s1600/FullSizeRender+58.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4cg5VQJo6_odC42pC91sjOuWNoU_GSPXZX6LrHwYnlxQsLrs37yoSVq2tnUk_w62uZeXWXhQyAAf7XyXxU-JocohekyG2nzF-iF6V03voeXipTdrqih8PCp-WqJhGAi0trNm53FC_VYI/s320/FullSizeRender+58.jpg" width="228" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A maple and a man on a bench, Parkorman, Diclekent</td></tr>
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<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="mso-tab-count: 1;"> </span>We
spent our last day in the city wandering the parks of a neighbourhood called
Diclekent, where some really dazzling fall plumage enticed us to pull out our
cameras and go on a photo binge. In one of the park, I couldn’t help but notice
the free range turkeys pecking among the benches. It was Thanksgiving back in
the States and it seemed like a small salute from the city to have these birds
toddling along behind me. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="mso-tab-count: 1;"> </span>The
only thing that marred the golden autumn afternoon was the ceaseless roar of
the F-16s, a reminder of the madness at the border.<o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo2X8sAzO2XK21B_QrbO757nlcZ25XBiPU0MdUYBRBs98eblikAOXF2GWNTmGYsc7o0w11HqBf45Z_1E5vm8fz3MBeK-8p2FD0AFZzdIz_Vm_qSx7UCela2BlSiHJOPOPRIo2hgJYxQQM/s1600/FullSizeRender+51.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo2X8sAzO2XK21B_QrbO757nlcZ25XBiPU0MdUYBRBs98eblikAOXF2GWNTmGYsc7o0w11HqBf45Z_1E5vm8fz3MBeK-8p2FD0AFZzdIz_Vm_qSx7UCela2BlSiHJOPOPRIo2hgJYxQQM/s320/FullSizeRender+51.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Catalpa Trees and Sycamores at Parkorman</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii9wfimBeMtEa88OuZ6n64xb5z32fC_mTk_dnljjmHw5LCrT4oqzfMeiA4jSDDZwGTPQCAbLrwDv4MSZ-1TSOwnnt80KGhPwVTE402yCHih5-L2L7P_jjaXYMSX_HDe-NEsGMsbnhhxNE/s1600/IMG_3719.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii9wfimBeMtEa88OuZ6n64xb5z32fC_mTk_dnljjmHw5LCrT4oqzfMeiA4jSDDZwGTPQCAbLrwDv4MSZ-1TSOwnnt80KGhPwVTE402yCHih5-L2L7P_jjaXYMSX_HDe-NEsGMsbnhhxNE/s320/IMG_3719.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Parkorman--Sycamores</td></tr>
</tbody></table>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB">(More autumn pictures at the end of this blog)</span></div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="mso-tab-count: 1;"> </span>I
would also like to say something about the use of Kurdish in the city—the unofficial
capital of Kurdish resistance. It is very very very sparse. I heard it on the
streets a lot, but most people speak Turkish to one another. As far as signs go—well
the city government makes all their signs bilingual. The signs in Koşuyolu Park
and the sides of the busses operated by the city all feature Kurdish, but
outside of that the only place you see the language used as a means of
discourse is in activist businesses like Aram Bookstore (a great resource for
<a href="http://www.aramyayinevi.com/">alternative Kurdish publishers</a>), Babel Teras bar and the Heftrenk traditional
clothing store, whose sign on the window says “Speak Kurdish!” <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvorJuYLzVmxOnTEnRp4LYCffUhhJ2k2m4xj-BjC-QVK3UZgfqKx5nARM9GAuVaFTvG5cEAcMhyphenhyphenYDhET0mAROUaAdXa-TfIyLLa913hy0tDcRuW8-vSNKAKEP2VEOrfjCzA5egMqz8qWY/s1600/IMG_3708.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvorJuYLzVmxOnTEnRp4LYCffUhhJ2k2m4xj-BjC-QVK3UZgfqKx5nARM9GAuVaFTvG5cEAcMhyphenhyphenYDhET0mAROUaAdXa-TfIyLLa913hy0tDcRuW8-vSNKAKEP2VEOrfjCzA5egMqz8qWY/s200/IMG_3708.jpeg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Speak in Kurdish" at Heftrenk</td></tr>
</tbody></table>
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<span lang="EN-GB"><br /></span></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7-Q2tW8-PMwVcsKrdgvw_NiHS2_xHbqES2WJbEm55sPIKXdewBDjrcRYhJdh859Xgwx_47ZqH-S1d_CT4l82gP1nK8hyphenhyphenG8O7BaKPF2-83TECVkvqp0wd2dv5M66OHpB4M-z_OAdbzKFg/s1600/FullSizeRender+59.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7-Q2tW8-PMwVcsKrdgvw_NiHS2_xHbqES2WJbEm55sPIKXdewBDjrcRYhJdh859Xgwx_47ZqH-S1d_CT4l82gP1nK8hyphenhyphenG8O7BaKPF2-83TECVkvqp0wd2dv5M66OHpB4M-z_OAdbzKFg/s200/FullSizeRender+59.jpeg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bathroom at Aram Bookstore</td></tr>
</tbody></table>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB">But that's it.</span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="text-indent: 36pt;">I keep thinking
of that journalist I got in a Twitter tiff with (see my first entry), who said
Diyarbakır had changed and was hardly recognizable anymore as a Turkish city.
Was she on some sort of hallucinogen? Or is the Turkish mindset so deadset on
the one language, one people, one religion mentality that a couple of signs
here and there in Kurdish strike them as a radical revolution? I have no idea
but I wish to hell people here would put more of their signs and advertisements
in both languages. It’s way overdue.</span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br />
<span lang="EN-GB"></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="mso-tab-count: 1;"> </span>In
the evening, we went to the movies at the Galleria mall next to the city hall.
The place was a ghost town. Only a few lights were on and we wandered up dead
escalators to get to the top floor where the alleged cinema was located. All
around us were cracked windows on abandoned store fronts, blinking neon signs about
to die forever and dark corridors into nowhere. An old man with a bushy
moustache manned the ticket booth surrounded by independent film posters. No
one else was anywhere around. Utterly utterly silent except for the Kurdish
songs the ticket seller was playing on his phone. At 7, he unlocked the huge
wooden doors to the theatre and let us in with a ominous creak. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="mso-tab-count: 1;"> </span>Before
the film started (we’d come to see Mustang, recommend it) we heard five
explosions from the old city. “Sound bombs,” my sister-in-law explained. “They’re
probably attacking the trenches. It happens from time to time.” On the way home
we heard what sounded like another explosion from the opposite end of the city.
Apparently, someone attacked one of the police tanks, which are legion.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="mso-tab-count: 1;"> </span>Life
at war with the State.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglW0QhEaxIWajFk7Z_Y6oP9BJV3CUUohapfuPj3yvI46_rLq7pJAwowalMMkBFQjD9iwEqGysdidpLVAi954LqHQcA6aTIqzM-u9smycms8L1qKKDQlbfvOhbJ8JxujlA7kCQEcguDuHg/s1600/FullSizeRender+52.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglW0QhEaxIWajFk7Z_Y6oP9BJV3CUUohapfuPj3yvI46_rLq7pJAwowalMMkBFQjD9iwEqGysdidpLVAi954LqHQcA6aTIqzM-u9smycms8L1qKKDQlbfvOhbJ8JxujlA7kCQEcguDuHg/s320/FullSizeRender+52.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Red vines at Ekim Park</td></tr>
</tbody></table>
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<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="mso-tab-count: 1;"> </span>After
the movie we went to a bar called Babel—which also had a gesture toward
Kurdish. The signs over the bathroom said “Mer” and “Jin”. They had Becks on
tap and after a few of those, one could push the memory of sound bombs to the
back of the mind and relax to all the hard rock blasting through the speakers.<o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS7Nn8VV1cEBVrffA_5njr9vC-x8_gghUaukKc7NbFZ67bhHV0Tqdvg6fhXKH4ejkLEsR1ewmBXMnxbz0s6xOKFDMCHGUuOavXpnxQBXb0hqg-26kO7KxKEI14ywvJEFl7otn87L3KgMU/s1600/FullSizeRender+56.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS7Nn8VV1cEBVrffA_5njr9vC-x8_gghUaukKc7NbFZ67bhHV0Tqdvg6fhXKH4ejkLEsR1ewmBXMnxbz0s6xOKFDMCHGUuOavXpnxQBXb0hqg-26kO7KxKEI14ywvJEFl7otn87L3KgMU/s320/FullSizeRender+56.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Red maple at Ekim Park</td></tr>
</tbody></table>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="mso-tab-count: 1;"> </span>One
last thing, I wrote about the markets the last entry, including one market
called the “Burned Market.” After a bit of research, I found out the market Is
quite old, stretching back to at least the 16<sup>th</sup> century. It burned
down in 1895 and 1914. The first coincides with the date of the massacre of
Armenians by Sultan Abdulhamid II when after a shooting outside the Great
Mosque, a general attack on Armenians erupted. The other was the eve of the
Genocide. This last fire also burned down the Armenian quarter of the city and
marked the beginning of the end. Merchants fleeing the flames cried, “The
market is on fire!” and that name stuck. Today, incidentally, is the date of
the hated TEOG exam, the high school entrance test that my 8<sup>th</sup>
graders are now taking. One of the questions on the history section was this, “Which
is not true about the exile of the Armenians?” The answer? “The Turkish state
wanted to erase the Armenians from the land of Anatolia.” <o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">At Ekim Park--the anti government grafitti and random love scribblings</td></tr>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com6tag:blogger.com,1999:blog-7568989191454832962.post-13497845693932465622015-11-25T22:50:00.002+02:002015-11-25T23:31:39.551+02:00Diyarbekir Diaries – Rojnivîska Amedê Day 4<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-GB" style="background-color: white; color: #222222; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 13.2px; line-height: 18.48px;">Diyarbekir Diaries – R<span style="color: #353535; font-family: 'myriad pro', helvetica, arial, sans-serif; font-size: 14px; line-height: 22.4px;">ojnivîska</span> Amed<o:p></o:p></span><span style="background-color: white; color: #222222; font-family: 'open sans', helvetica, arial, sans-serif; font-size: 14px; line-height: 22.4px;">ê </span> 4<br>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzjSdcuCD_RwSARpkZGmoIt4j6ADoIlvu6kzE1en4Zk47D3w2xrm68K_Gt5qtUZXFcC7dWOlsqoU2D0dWWPPLsCAH2pf71O8b2jUX-94YMAb3nWiEzRBzoLsUEDTKL1d-dMO0ca0Y_zw8/s1600/IMG_3441.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzjSdcuCD_RwSARpkZGmoIt4j6ADoIlvu6kzE1en4Zk47D3w2xrm68K_Gt5qtUZXFcC7dWOlsqoU2D0dWWPPLsCAH2pf71O8b2jUX-94YMAb3nWiEzRBzoLsUEDTKL1d-dMO0ca0Y_zw8/s1600/IMG_3441.jpeg"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Kurdish Pantheon</td></tr>
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<span lang="EN-GB">Today we woke up with no new world crisis
and a simple breakfast on the balcony overlooking the park. I spent a long time
watching a little girl empty a trash can, piece by piece (all shiny potato chip
bags) until she was noticed by her older sister who, hitherto, had been playing
with a friend on the swings. The older one grabbed the trash digger and sat her
rather sternly on a bench, but as soon as her back was turned, the little one ran back and put everything she had thrown out back in, piece
by piece. Then her sister noticed, and dragged her once more to the bench. When the older one was safely on the swings with her friend, the little one again ran back to the trash and proceeded to empty
it out all over. I remember her pink sweat shirt, whose long sleeves she had
pulled down to cover her hands.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Man in a cafe</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Mesopotamia from the battlements at Goat's Point</td></tr>
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<span lang="EN-GB">We took a minibus to the ancient city walls—reportedly
dating back, in places, some 3000 years when the whole area was a capital of an
Aramaic kingdom that at one point had a scuffle with King David of the Old
Testament. Near the Mardin Gate is a tower built into the walls called “Keçi
Burnu” or “The Goat’s Point”—the oldest and largest of all the towers along
the walls. Inside is a dungeon, now a café. At the back, a small slit in
the black walls sends a sliver of silver light beaming onto the floor—once, according to the owner of
the café, a temple to the sun for the ancient Hurrians who built this place. If
this is true, then their sun god would have been Shimegi or possibly Teshub
whose Hittite name, Taru, was given to one of the mountains in Delal’s village.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">The Temple of the Sun</td></tr>
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<span lang="EN-GB">The colors of the fields around the walls
were bright yellow gold and green—each black square of plowed earth lined with
poplars and sycamores and acacias. Among the trees, a man
was calling his doves back to their roost with sharp, musical whistles. The
birds swirled and swirled around the ramparts, dipping further and further toward
the whistler. The pretty little scene was broken by the appearance of a bomber
moving heavily south toward the Syrian border, followed soon by three
fighter jets cutting an angle across the sky.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Cafe on the Walls</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Doves returning to their dovecote</td></tr>
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<span lang="EN-GB">After the walls, we took a taxi down to the
“Ten Arch Bridge” on the Tigris. Made from the same black stone as the city
walls, the bridge was originally built by the Romans in the 6<sup>th</sup>
century. The sun was setting, the banks of the river were deserted. A haunted
autumn evening seemed to rise out of the water like lost spirits and snake up the banks and into the poplars. You could look out south toward the empty Mesopotamian
plain and feel the history, the weight of tens of thousands of years and all the armies and civilizations and forgotten souls. Here human
civilization began. History began. And what came before was mystery.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Waters of the Tigris<br><br></td></tr>
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<span lang="EN-GB">The Markets<o:p></o:p></span></div>
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<span lang="EN-GB">The markets of the city are like a series
of small theaters. Each stall is piled high with merchandise—whatever it may
be--so that only a small lighted proscenium reveals what’s happening on the
inside. As you walk, they unveil themselves scene after scene. It’s like strolling
through a carnival and peeking at private little plays—a group of young men chatting
over tea, a small fat boy watching TV and dozing, a man grinning into his
iPhone, a sad looking old man in a fedora staring mournfully at a clock. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtMWE24vJISJ-cHBPKrg1PcNt6rrXLuh-F5SMjYPRswEVdllPafQApWrr0GYESGFFsl31M6aBmTSraeFbyk3abhPsY7vmCcF1nlG_QuWG-Kf2ggMxwbJW_UuyYDoPFPmfEoZ1QyPCRzIY/s1600/FullSizeRender+%25284%2529.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtMWE24vJISJ-cHBPKrg1PcNt6rrXLuh-F5SMjYPRswEVdllPafQApWrr0GYESGFFsl31M6aBmTSraeFbyk3abhPsY7vmCcF1nlG_QuWG-Kf2ggMxwbJW_UuyYDoPFPmfEoZ1QyPCRzIY/s1600/FullSizeRender+%25284%2529.jpeg"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The name of the market means "Burnt Market" in Kurdish and comes from a fire that apparently razed the place once<br><br><br></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyXrKU6UHHsevAjbVBlBlYlcyltiMTUJTTDsOVK6QT-nQz8mK-s7szeCAo2edTO_1kkqYlC3XsPTvVnBg1WX2YayaL3PrJTqGJhXHdl96Vn-0V2CPzqAlsOXZs5mNkjZUO8hXiHfLLXsk/s1600/FullSizeRender+28.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyXrKU6UHHsevAjbVBlBlYlcyltiMTUJTTDsOVK6QT-nQz8mK-s7szeCAo2edTO_1kkqYlC3XsPTvVnBg1WX2YayaL3PrJTqGJhXHdl96Vn-0V2CPzqAlsOXZs5mNkjZUO8hXiHfLLXsk/s1600/FullSizeRender+28.jpeg"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One of the prosceniums, curtain off by jeans and shirts, waiting for the entrance of the actor (whom I did not wait for because I would have to buy something)<br><br></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO8UZq1oeTMgkjLk6tGHOva9nLcPPE7x_HuXiYhXT26HwfEv3YowWE5mMWIGASh4ZGbtBK2fmAXUmRwtdOhIczPZoxm4BQE6pBrkso-mkKRhOoN9jE_5FfCod0wiOK5xkjxHBcPaNgTpA/s1600/FullSizeRender+41.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO8UZq1oeTMgkjLk6tGHOva9nLcPPE7x_HuXiYhXT26HwfEv3YowWE5mMWIGASh4ZGbtBK2fmAXUmRwtdOhIczPZoxm4BQE6pBrkso-mkKRhOoN9jE_5FfCod0wiOK5xkjxHBcPaNgTpA/s1600/FullSizeRender+41.jpeg"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Theater scenes from the Cheese Market</td></tr>
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<span lang="EN-GB">When we finished, the streets of the old
city were dark. The street lamps had not yet been lit. The only light spilled
out from closing store fronts. I watched my wife dip in and out of this light
as she walked in front of me down the sidewalk, vanishing again into shadow
with the rhythm of a lighthouse beam.<o:p></o:p></span></div>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com1tag:blogger.com,1999:blog-7568989191454832962.post-91570546674681533452015-11-24T22:12:00.002+02:002015-11-24T22:26:43.104+02:00Diyarbekir Diaries – Rojnivîska Amedê Day 3<div dir="ltr" style="text-align: left;" trbidi="on">
<span lang="EN-GB" style="background-color: white; color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px; line-height: 18.48px;">Diyarbekir Diaries – R<span style="color: #353535; font-family: "myriad pro" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 22.4px;">ojnivîska</span> Amed<o:p></o:p></span><span style="background-color: white; color: #222222; font-family: "open sans" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 22.4px;">ê Day 3</span><br />
<span style="background-color: white; color: #222222; font-family: "open sans" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 22.4px;"><br /></span>
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My mother-in-law and her sister arrived last night--making us a party of five.</div>
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<br /></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
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<span lang="EN-GB">From about 10 PM on, the roar F16s filled the air and almost managed to drown out the
voices of my in-laws who stayed up late debating various topics, ranging from
the character of the various brothers-in-laws in the family to what in human
nature pushes large groups toward extremism. I woke up to only the sound of
F16s, which have been flying back and forth non stop all day. More insane news
greeted us this morning—the Turks shot down a Russian plane.<o:p></o:p></span></div>
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<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB">This entry is going to be mostly pictures and will be devoted to two things--the food and the architecture of the old city. </span></div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYX3C-p_6R8bcAd52r0wGqJNEosFGE_leSF-X5DXRDDj3lnW4OVJ02QN-k7s2WS8BSDVXpovHcxrynq5mvRIJ50F_xdEJx-YS6fdq24yuLNLwWMv4LDpBR5PFBaxLRdaseN0k3tlH5YQw/s1600/FullSizeRender+36.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYX3C-p_6R8bcAd52r0wGqJNEosFGE_leSF-X5DXRDDj3lnW4OVJ02QN-k7s2WS8BSDVXpovHcxrynq5mvRIJ50F_xdEJx-YS6fdq24yuLNLwWMv4LDpBR5PFBaxLRdaseN0k3tlH5YQw/s1600/FullSizeRender+36.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The park we pass through every morning in all its autumn glory</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPK_iHA-cqVS4OTmESveAt21dCy9t5e73WVvgUPssDjKhqvaDh-l7Ug_7zVa0eHuAS9nKO4TVLZRbtQt_ictK5ayO3386NpyQRSP1Rzj-Om6O5Y9CrDiMI1Pv7mLvPZQOpMN46PJD-DWg/s1600/IMG_3414.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPK_iHA-cqVS4OTmESveAt21dCy9t5e73WVvgUPssDjKhqvaDh-l7Ug_7zVa0eHuAS9nKO4TVLZRbtQt_ictK5ayO3386NpyQRSP1Rzj-Om6O5Y9CrDiMI1Pv7mLvPZQOpMN46PJD-DWg/s1600/IMG_3414.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Students from a nearby middle school playing football on lunch break</td></tr>
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<div class="MsoNormal">
The Food </div>
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People in Turkey always wax romantic about the cuisine of Antep. I never found anything there but the usual Turkish fair and none of it all that special. To me, Diyarbakir is the premier city for food in the east. I have never eaten anything bad here, <i>never</i>. </div>
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Here is a brief glance into our culinary adventures today.</div>
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We started with a breakfast at Hasan Paşa Han--a 16th century caravansaray in the middle of the old city. Breakfast came with 24 different plates of food. I counted 8 types of cheese, a dish of cured lamb and eggs, a spiced eggplant and tomato salsa, cream and honey, yogurt with strawberry sauce, fresh butter, potatoes, roasted peppers, a roasted flour concoction good for eating with bread, a kind of peppery paste (also for bread), orange preserves, honey on the comb, bananas with pomengranate sauce, cucumbers and tomatoes, an arugula salad and more. Breakfast here is a Diyarbekir ritual for us and a must for anyone visiting the city. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGVlkeBV3OuJCoqvNcwjs1UwIJIGaukC3kPcspk70xr0pq-lO-k3yf7mXgKGjvUybSAshvlZAcy9FauxlJZh2kk4Wg4vsg6LJvrzt7uWfk_0KgHGDkvoDfPpXrafC0ZiX1QA_-P5Q6Lv4/s1600/IMG_3424.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGVlkeBV3OuJCoqvNcwjs1UwIJIGaukC3kPcspk70xr0pq-lO-k3yf7mXgKGjvUybSAshvlZAcy9FauxlJZh2kk4Wg4vsg6LJvrzt7uWfk_0KgHGDkvoDfPpXrafC0ZiX1QA_-P5Q6Lv4/s1600/IMG_3424.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The 24 plate breakfast at Hasan Pasha</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguu95O3BkXUbMGeBN-3Owx-0s7Um6l9ZuQmtRMqH2eAnoXImrSYjZfGlt_7Do-QxzcUAZDm0Gtp7OR5W_gOyvVh1hw7C1y19ecdZjtpSpfNuxQVez_vbE1i3YghyphenhyphenUkqvm54UaW7B_HS-o/s1600/IMG_3432.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguu95O3BkXUbMGeBN-3Owx-0s7Um6l9ZuQmtRMqH2eAnoXImrSYjZfGlt_7Do-QxzcUAZDm0Gtp7OR5W_gOyvVh1hw7C1y19ecdZjtpSpfNuxQVez_vbE1i3YghyphenhyphenUkqvm54UaW7B_HS-o/s320/IMG_3432.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The cured lamb and eggs</td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDPrkL6cqy731wIpLuOFLyKmoGb6GEvSFiu07ebZC_QVzbT5O3FDFttMuXXGogNaEnLJWrJU4o-WBqs5bWdA0R6MtHjql_qR8mbAKLBIDRxfB43yBKz6CMgQbAiWAECJZ8oaPSDW_yE5k/s1600/FullSizeRender+%25283%2529.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDPrkL6cqy731wIpLuOFLyKmoGb6GEvSFiu07ebZC_QVzbT5O3FDFttMuXXGogNaEnLJWrJU4o-WBqs5bWdA0R6MtHjql_qR8mbAKLBIDRxfB43yBKz6CMgQbAiWAECJZ8oaPSDW_yE5k/s1600/FullSizeRender+%25283%2529.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The entrance to the Han</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4EUAs9b3B9EzFHogG01VtjHXqXnHftDsBFbVWeh1QvZ4PddLffWYePgURrNJuKubDBaAPH4VlsKz5725KQA3JyIznXFtXHC5Qo2-EbEKjHTzjiu-wAG18I5-vjUwD057-mCNvMGPJ96k/s1600/IMG_3434.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4EUAs9b3B9EzFHogG01VtjHXqXnHftDsBFbVWeh1QvZ4PddLffWYePgURrNJuKubDBaAPH4VlsKz5725KQA3JyIznXFtXHC5Qo2-EbEKjHTzjiu-wAG18I5-vjUwD057-mCNvMGPJ96k/s1600/IMG_3434.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Our view from the table</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlJh7TFznwKpO8djDMmCqAdiauBI1krch0Lbad58hAzFJrcwzJ50lQ-Ii4cFtCvgGJPEkJTROhOjU9LIULy0PUSL-HZ88l7iIb1jG5KKOOgdgHPIGk8DkTi6jcFMQpCiLVGBqQM7fvFME/s1600/FullSizeRender+25.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlJh7TFznwKpO8djDMmCqAdiauBI1krch0Lbad58hAzFJrcwzJ50lQ-Ii4cFtCvgGJPEkJTROhOjU9LIULy0PUSL-HZ88l7iIb1jG5KKOOgdgHPIGk8DkTi6jcFMQpCiLVGBqQM7fvFME/s1600/FullSizeRender+25.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The sundried vegetables</td></tr>
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Around the han are all sorts of markets. Dried fruits and vegetables are everywhere (the climate here makes it ideal). I recommend cooking with sun-dried okra. Amazing. There is also a spice market which sells different degrees of roasted Urfa peppers and a staggering variety of pepper and tomato pastes. </div>
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I ran into a strange man while perusing some of the unusual soaps sold here. He came down the sidewalk wearing a beret and sunglasses. He had bright white hair and a brown, creased face, and walked with a cane. Under one arm pit, he had a stuffed fox whose body seemed abnormally long--nearly two thirds of the man's height. Under the other pit, he carried a stuffed weasel, equally long. Each animal's mouth was open, showing its fangs. I would have snapped a picture but something told me that words were a better description of this--your imagination at this point has a better impact than whatever photo I could have come up with.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfCo1H6e0NZXxIthd1JW2srtjgn05_MB3z5yKNPegekhnvI3wjhtOSpgkKiYHQLQlPZISrpbibAcYOPVUk4Vm5WUbmpPpAgIDZJXCzs4fXqU6K9fuWlev2B7fbUo4ENeZk-GUT1BFKyE8/s1600/FullSizeRender+34.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfCo1H6e0NZXxIthd1JW2srtjgn05_MB3z5yKNPegekhnvI3wjhtOSpgkKiYHQLQlPZISrpbibAcYOPVUk4Vm5WUbmpPpAgIDZJXCzs4fXqU6K9fuWlev2B7fbUo4ENeZk-GUT1BFKyE8/s1600/FullSizeRender+34.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The different grades of Urfa Pepper<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj39gRAKeM_vGEmTXHzqrOwcA4a2b36lTjCcfnpC0WQUQAeV6pqnNbcEHpk-AOrbLPOu_iCgogG-6r3LO2txYM-rC4HhlDI-dnnop_1M6AC_bB0jtPzAMa6-sNuAAkjQmAeSWDKLahU210/s1600/IMG_3418.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj39gRAKeM_vGEmTXHzqrOwcA4a2b36lTjCcfnpC0WQUQAeV6pqnNbcEHpk-AOrbLPOu_iCgogG-6r3LO2txYM-rC4HhlDI-dnnop_1M6AC_bB0jtPzAMa6-sNuAAkjQmAeSWDKLahU210/s1600/IMG_3418.jpeg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJN6eVdiVvehN2hEsbexJP8vWANjS5kHhbprDPJnRUQDwq1lgTHf1-2HAFM4mydhviRIgljxwCCf3n8tRhDmZVYLKmUSy7zLgWij0ZRkZooqrIjDWhAr8FnNgiwMUAgqwgXns8JRRtOqc/s1600/FullSizeRender+%25282%2529.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJN6eVdiVvehN2hEsbexJP8vWANjS5kHhbprDPJnRUQDwq1lgTHf1-2HAFM4mydhviRIgljxwCCf3n8tRhDmZVYLKmUSy7zLgWij0ZRkZooqrIjDWhAr8FnNgiwMUAgqwgXns8JRRtOqc/s320/FullSizeRender+%25282%2529.jpeg" width="320" /></a></div>
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It gets dark rather early here these days--around 4:30, and as the sun was setting we went back to Sülüklü Han from yesterday for some coffee and then, a cup of their house wine, a red that was amazing. Being dark, I could only get a decent picture in black and white. The proprietor went on and on about how organic it was. In any case, it was light, somewhat fruity yet with a nice body.</div>
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Dinner was at one of my favorite restaurants in Diyarbekir--Tabier, a lahmacun restaurant that has the best "Arab pizza" I have ever tasted. The crust is thin and crispy on the outside, soft on the inside and the meat topping full of spices, with a nice dose of the Urfa pepper. It comes with a table load of mezes and vegetables, all on the house. This is a typical feature of eating out in Diyarbekir--no matter what you order it comes with a table full of side dishes, which is why I feel absolutely stuffed wherever I go.</div>
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The Old City--the Architecture</div>
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I could wander around the inner city for days--a maze of tall black basalt walls, ancient churches (of Armenians, Chaldeans, and Assyrians) and crumbling houses. The height of the walls in the streets are a defense against the intense heat of the summers. With the air so dry, anywhere you find shade is cool, and these tall walls provide long winding avenues of cool shadow. </div>
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<tr><td class="tr-caption" style="text-align: center;">The knockers we saw all around the old city</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnys-pLi9Ms-iSSxZePk6acyDti2dOn2RjVhtvEIj_-Xbw5gSElf12vagPUD_YWK72XyE2FP2tXPdTByr2Stvjv_WEeqwtxSOTXpKoNMuurmqXpC573uIXGvNcUb0a_OTqUUpgXwtcxuc/s1600/FullSizeRender+32.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnys-pLi9Ms-iSSxZePk6acyDti2dOn2RjVhtvEIj_-Xbw5gSElf12vagPUD_YWK72XyE2FP2tXPdTByr2Stvjv_WEeqwtxSOTXpKoNMuurmqXpC573uIXGvNcUb0a_OTqUUpgXwtcxuc/s400/FullSizeRender+32.jpeg" width="400" /></a></div>
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Before I go any further, I would like to say that as we toured the old city today, we passed through one of the areas that have been barricaded and declared independent of the state. (It was near one of the historic Armenian churches). Paving stones have been used to build walls, trenches dug, and sandbags piled up as barriers. White plastic tarps cover the streets as protection against snipers. It's perfectly safe during the day and people carry on about their business as usual. I saw some of the youth responsible for the blockades--a few masked but most not. They were mostly boys in their early teens though there were lots of smaller kids, too, as young as five or so. They had built a fire in a ratty trash barrel and set up couches and arm chairs around it in the street. There were also girls here and there--they seemed to command a post of their own down a different street. An older man played a bağlama from one of the sofa. A group of middle aged to elderly women in head scarves sang Kurdish songs and stood around the fire with the boys. A blond woman in a pants suit leaned against the all and though she did not sing, watched the whole performance thoughtfully. A couple of toddlers came out of an apartment building to watch, fingers in their mouths. In other words, ordinary people from all sections of Diyarbakir's poor defending this dilapidated street. How many of these people singing would survive the week, I wondered? Who would be shot? The little boy eating cookies? The old covered lady sitting on the oil can and warming her fingers? The teen girl with the bright colored scarf covering her face? Who would become the next "martyr" and who would go about their lives?</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi175kZHyGaYUl8-FAoPbcAvhq6CaC78uHSn4cepnsL9ZIiiilIO_a6Bm2v3OaC1gwu_8QOPNM1H-jgEoCpxRdwFTs43jq5xzuXkMYiQOF8VMh2rNz7lbRbplu3M8hJUaIg9yjY4F5K41s/s1600/FullSizeRender+33.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi175kZHyGaYUl8-FAoPbcAvhq6CaC78uHSn4cepnsL9ZIiiilIO_a6Bm2v3OaC1gwu_8QOPNM1H-jgEoCpxRdwFTs43jq5xzuXkMYiQOF8VMh2rNz7lbRbplu3M8hJUaIg9yjY4F5K41s/s1600/FullSizeRender+33.jpeg" /></a>Through the maze of black walls you stumble occasionally on a sudden burst of green, an opening into the garden of one of the old hans. We went to Iskender Pasha Han for menengiç coffee. The courtyard was gorgeous, full of golden leaved mulberry and sycamore trees. Magic.</div>
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Many of the houses of the old aristocracy have been turned into museums. Here is the courtyard of the poet Ahmet Arif. Diyarbakir social life was once completely centered around these courtyards.</div>
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The poem on the wall is from his famous anthology, "The Manacles Were Worn Away by Longing"</div>
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Your love never left me.</div>
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I hungered, I thirsted, </div>
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The traitor nights were dark</div>
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My spirit is weird, my spirit is silent</div>
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My spirit is in pieces</div>
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And my hands in chains</div>
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I was without sleep or cigarettes</div>
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Your love never left me</div>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com0tag:blogger.com,1999:blog-7568989191454832962.post-51904006898459505672015-11-23T20:44:00.002+02:002015-11-23T20:52:39.616+02:00Diyarbekir Diaries – Rojnivîska Amedê Day Two<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; color: #222222; font-family: "open sans" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 22.4px;">We awoke early this morning--around nine or so, to full on summer level sunlight. It poured in from all directions and was warm enough for me to walk around in a T-shirt. All three of us, still in pijamas, immediately dove into the news. Last night, after I finished this blog, just a few kilometers away, someone had apparently attempted to assassinate Selahattin Demirtaş, the co-chairman of the opposition HDP party. A bullet hole was found in the rear window of his car. If they had succeeded, the whole country could have been plunged into a civil war. The governor of Diyarbekir province (an AKP appointee) denied that it was a bullet hole, of course. </span><br />
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<span style="background-color: white; color: #222222; font-family: "open sans" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 22.4px;">After news and politics, we had our breakfast on the balcony overlooking the park. As we ate, two F16s passed overhead--on their way to God-knows-where from the Diyarbakir military airport, to bomb Kurds in Iraq (most likely) or perhaps somebody else in Syria. Hilal made a kind of herbed French toast, and as we ate, I watched the goings on in the park below. One jogger, a kid spinning an trashcan and startling a cat, two old men chatting on a bench, a pair of speed walking girls, a group of student boys in uniform walking and chatting, one of them in front of the others, walking backward to face his friends and gesturing excitedly.</span><br />
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<span style="background-color: white; color: #222222; font-family: "open sans" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 22.4px;">Delal and I decided to stroll around the new city, not the touristy part, just to see what we ran into in terms of ordinary life. We took a road behind the apartment complex and passed onto a wide sidewalk lined with Acacia trees. The fall weather was pitch-perfect--sunny, slightly cool, crisp air. Pairs of students strolled to school arm in arm.</span><br />
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<span style="color: #222222; font-family: "open sans" , "helvetica" , "arial" , sans-serif;"><span style="background-color: white; font-size: 14px; line-height: 22.4px;">We passed by a high school in the neighborhood of Bağlar. Back in 2012, at a protest during the height of the Kurdish hunger strikes, I had met a boy from here who told me that this was the poorest neighborhood in the city. He said that the police loved to target Bağlar and once, during a protest when he was twelve, he'd watched them chase down and kill one of his friends. I wondered if this was the school? The graffiti on the walls around here, I think, explains a lot about the place somehow. The usual names of lovers separated by hearts, lists of school friends names, and political slogans praising Rojava, the HPG, the PKK, and Demirtaş (nicknamed <i>Selo</i>). On one wall a name has been painted over and the rest of the sentence, "is a novel that has not yet reached its end," now lies subjectless and seems to apply to everyone here. Just down the road is an advertisement for Salsa classes with the slogan "And our souls remained free..." </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoAcCiCBS2DNTiQpwqlz36AE2xbiBZkR4eaWxz-TSn0tF2p-Ix7W-ljT1mAD2zz1H5vPfCy1EXCZikqX-ta5OY-Y8vxtu-IeMMP2RMOobHnZG4r_VKTmsQP6aa-tveYNxfjK5YYuh-_4g/s1600/IMG_3372.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoAcCiCBS2DNTiQpwqlz36AE2xbiBZkR4eaWxz-TSn0tF2p-Ix7W-ljT1mAD2zz1H5vPfCy1EXCZikqX-ta5OY-Y8vxtu-IeMMP2RMOobHnZG4r_VKTmsQP6aa-tveYNxfjK5YYuh-_4g/s1600/IMG_3372.jpeg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvH_b46AjE4ZFKAmZKBv2cqz08vwxIyL_Z8QvFAKOwOG5KSMsyiTbVgG8eJikiO4ndtx7dWjHW1_-Hi-l1_LC_qZ_XYID-roiV_piSMfz8YipnUagdmFqdwxUOPhUzDLqBjk3cT1Bjrfg/s1600/FullSizeRender+11.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvH_b46AjE4ZFKAmZKBv2cqz08vwxIyL_Z8QvFAKOwOG5KSMsyiTbVgG8eJikiO4ndtx7dWjHW1_-Hi-l1_LC_qZ_XYID-roiV_piSMfz8YipnUagdmFqdwxUOPhUzDLqBjk3cT1Bjrfg/s1600/FullSizeRender+11.jpeg" /></a></div>
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We stopped in the chic neighborhood known as Ofis (Office) for a cup of menengiç coffee. Menengiç is something you find all over Eastern Turkey. It is a creamy kind of coffee made from the roasted terebinth berry, a bitter relative of the pistachio. The cafe was called "Ares", the god of war. Out front along a stone wall, someone had lined up three nargile pipes--red, green, and yellow. When I took a picture, the waiter told me to hold up.</div>
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"It's not in the right order," he said. "Let me fix it."</div>
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He rearranged the pipes so that they went in the proper Kurdish order according to the slogan, <i>kesk sor </i><span style="background-color: white; color: #545454; font-family: "arial" , sans-serif; font-size: x-small; line-height: 18.2px;"><i>û</i></span><i> zer (</i>green, red and yellow)<i>-</i>-the colors of the Kurdish flag<i>. </i>When he'd finished, he put his hand on his hips and smiled. "Now you can take a picture." </div>
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<tr><td class="tr-caption" style="text-align: center;"><i style="font-size: medium; text-align: left;">kesk sor </i><span style="background-color: white; color: #545454; font-family: "arial" , sans-serif; font-size: x-small; line-height: 18.2px; text-align: left;"><i>û</i></span><i style="font-size: medium; text-align: left;"> zer</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Menengiç--with a side of chocolate pebbles and Turkish delight at the Ares Cafe</td></tr>
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A few months ago, I got in an argument on Twitter with a well known journalist who had written an article where she'd insisted that Diyarbekir had become like a foreign country--with everything having become so Kurdish and so other that when you ran across a Turkish restaurant you found yourself as surprised as when you saw a kebab shop in Paris. Given the Turks paranoia about the Kurds always trying to divide their country, I thought this was an exaggerated and irresponsible thing to write, knowing how it could easily provoke and mislead a people already quite confused and deluded about what was really going on here. She countered by asking if I had reported on this place for over ten years, if I had been there in the 90s, if I was as experienced and as big an expert as her. Well, as I said then, no, but with a few pictures from our wanderings on the street, I think you can see there isn't much all that foreign for a Turkish street (sadly). One need not be an expert to look around and see what's right in front of your face--the same Ceylan Kuafors, Mehmet Avukats and Tarihi Cafes as in Istanbul.</div>
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<tr><td class="tr-caption" style="text-align: center;">The ubiquitous restaurant in Turkish that is supposedly so surprising to see--I love that the meat is cooked on a wood fire. The man feeds logs into the flame.<br />
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<tr><td class="tr-caption" style="text-align: center;">Bank Street in Ofis--with tons of Döner, Lahmacun, and Çiğ Köfte restaurants that you find all over the country.</td></tr>
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But there is definitely a different vibe in Diyarbakır--something more relaxed, friendlier than Istanbul or any city in the west of Turkey. Paying always seems to an option--if you have the money, and the sums are negotionable. 25 lira--oh you only have two twenties? Give me one then. Behind the wall of buildings on Bank Street was a maze of tea gardens in the shade of acacia trees. We bought different kinds of pistachio filled baklava from a street vendor and took them to a little table under a tree in the back. No one was bothered that we'd brought in food from the outside. We ordered teas and watched a couple of cats bathe themselves under a grafitti or what apparently looked like a vomiting fish.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4cAu-AJE0paTjbWIK1KnUeGYXdC8Z-BGqEKUciC-8ojo4q29tbkp6Y-3KHPMIBOj2TlGYp9yYRVP_Vibf5HbTTqyxNsRYZRUpe3jsG5AZQgI3QKF0ReyZ_ZMvirY1bzm4XyEbVdzJhvE/s1600/FullSizeRender+5.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4cAu-AJE0paTjbWIK1KnUeGYXdC8Z-BGqEKUciC-8ojo4q29tbkp6Y-3KHPMIBOj2TlGYp9yYRVP_Vibf5HbTTqyxNsRYZRUpe3jsG5AZQgI3QKF0ReyZ_ZMvirY1bzm4XyEbVdzJhvE/s1600/FullSizeRender+5.jpeg" /></a></div>
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Just down the street was the Monday Bazaar--full of all the usual suspects of the Istanbul bazaar with a few surprises. A pumpkin yellow on the inside, purple carrots, pink pomengranates and deep red persimmons.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNw7NQ4bDHMqxSYURdeVtVU9OnBj_oAVddTunaTAswIQmuzQo8bGDBoIl1_o4V9_l6CIpvkYJLBdJOmq1KMshCYySDStyD0ol2Boxc-OR9b4kg7jhkQrkdxdTvS6jQnil36Q4tTL39KK8/s1600/FullSizeRender+4.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNw7NQ4bDHMqxSYURdeVtVU9OnBj_oAVddTunaTAswIQmuzQo8bGDBoIl1_o4V9_l6CIpvkYJLBdJOmq1KMshCYySDStyD0ol2Boxc-OR9b4kg7jhkQrkdxdTvS6jQnil36Q4tTL39KK8/s1600/FullSizeRender+4.jpeg" /></a><br />
We passed through a park--the sycamore trees bright yellow, the leaves raining down, fluttering and fluttering. A couple of old ladies chatted on a bench near a sign advertising food in Kurdish. We run into these signs from time to time--they fill the park across the street from our apartment, but we hadn't seen many in Ofis until this moment.<br />
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<tr><td class="tr-caption" style="text-align: center;">Women's Labor Food Place--simple and direct I guess</td></tr>
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Hilal had been working in the old city, called Sur İçi (Inside the Walls), named because it is located in the medieval black basalt walls that surround the historic quarters. It is here that young people--male and female--have blocked off streets with sandbags and trenches and declared their streets independent of the Turkish state. It is here that clashes between the police, the army, and these youth have resulted in the deaths of citizens and soldiers. And yet, walking past the famous Hasan Paşa Han or the shoe shine market you would never know anything was afoot.<br />
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We met Hilal at an old Caravansaray called "Sülüklü Han"--the Leech Caravansaray. According to the sign, there used to be a well from which doctors would extract leeches to bleed their patients. A plaque on the gate explains the history in all the languages of the people of Diyarbekir--Assyrian, Armenian, Kurmanci, Zazaki, Arabic, and Armenian. This is anathema anywhere else in Turkey where the mentality is ONE LANGUAGE, ONE PEOPLE, ONE RELIGION. Anything else menas the country will be divided by whatever mysterious powers you blame for everything.<br />
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Sülüklü Han is located in the middle of the blacksmiths market--sparks fly across the gate next door from where a smithy is forging spiked dog collars. Hilal has brought a long a friend who explains an interview he had with the women's football team who believed that their rivals from Iğdir at a recent match might actually have been men, or at least on hormones. They were too aggressive, the women had insisted, too violent. <br />
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<tr><td class="tr-caption" style="text-align: center;">The tea seller in the blacksmiths quarter</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The door of 6 languages</td></tr>
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We ended our night on the city with a dinner of shish kebabed liver--for which the city is famous. Absolutely delicious! </div>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com0tag:blogger.com,1999:blog-7568989191454832962.post-47415130671845409552015-11-22T21:52:00.002+02:002015-11-23T00:10:24.318+02:00Diyarbekir Diaries – Rojnivîska Amedê, Day One<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-GB">Diyarbekir Diaries – R<span style="background-color: white; color: #353535; font-family: "myriad pro" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 22.4px;">ojnivîska</span> Amed<o:p></o:p></span><span style="background-color: white; font-family: "open sans" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 22.4px;">ê</span></div>
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<span lang="EN-GB">Fall break has begun, and we have come to
Diyarbekir to visit my sister-in-law who is working in the city as a translator.
Inspired by her ”Boston Diaries”, I have decided to keep a daily record of our
stay in the unofficial capital of Kurdistan. Maybe I can shed some casual light
on a city on the edge of several Middle Easter conflagrations. <o:p></o:p></span></div>
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<span lang="EN-GB">Day 1</span></div>
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<span lang="EN-GB">We get off the plane at 2:00 PM. The airport
is brand spanking new—having only just opened two weeks ago. Parts of it are still under construction. F-15s sit on the runway along with commercial jets. There’s some sort of garden-like thing under way in the arrival
lounge. It looked like a cross between a Zen rock garden and a putt-putt golf
course. There were swathes of raked sand winding through astroturf, all shut
off by panes of glass like a green house. <o:p></o:p></span></div>
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<span lang="EN-GB">Hilal was doing an interview with Diyarbekir's
women’s soccer team and we were to meet her at the sports center. We hopped in
a taxi and asked him to stop by an Akbank ATM on the way. <o:p></o:p></span></div>
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<span lang="EN-GB">“I’m not sure I know where there is one,”
he said. “Not the way we’re going. I’m terribly sorry, ma’am.”<o:p></o:p></span></div>
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<span lang="EN-GB">We were coming from Istanbul where there
was an ATM at least every 100 feet. He told us, no problem. If we wanted, we
could just pay him the day we went back to the airport.<o:p></o:p></span></div>
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<span lang="EN-GB">“How’s that?” Delal asked.<o:p></o:p></span></div>
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<span lang="EN-GB">“Well you’re leaving, right? You’ll need to
go back to the airport.”<o:p></o:p></span></div>
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<br></div>
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<span lang="EN-GB">“Not for a week!”<o:p></o:p></span></div>
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<br></div>
<div class="MsoNormal">
<span lang="EN-GB">“That's fine. You can pay me then.”<o:p></o:p></span></div>
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<br></div>
<div class="MsoNormal">
<span lang="EN-GB">And that is the best introduction I can
give to Diyarbakir. <o:p></o:p></span></div>
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<br></div>
<div class="MsoNormal">
<span lang="EN-GB">My sister-in-law lives in the apartment
once occupied by our good friend and Kurdistan’s top foreign correspondent,
Frederike Geerdink. (Anything I write here is done in her shadow, and with much respect and in debtedness) At the beginning of the Fall, she was run out of the
country for “supporting terrorism” or some such nonsense—her actual crime
being, of course, writing things that the state didn’t like. It was odd going
into her house without her. Her office (where I am writing from) is untouched, as if she might come breezing through the door at any minute.
Her book still sit stacked on her desk. Her schedule still waits for attention, things to do in a list on a dry erase
board. There is a haunted feeling about the place, or perhaps, more accurately,
a de-haunted feeling, as if a resident spirit has been ripped out.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5V7Oh-2seMpMANDAZ7G-O7lkhOx4WmFV6GhyvONh-ettof_dVWaEo2oJLuUbYEgypOqICmO0Z_CK6tzr3gq5ugW-kQZmfFXCcRTokK-dS1re7tdUyiQKDgxA5RsGrrVnl2yrsLAR1mVY/s1600/FullSizeRender+23.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5V7Oh-2seMpMANDAZ7G-O7lkhOx4WmFV6GhyvONh-ettof_dVWaEo2oJLuUbYEgypOqICmO0Z_CK6tzr3gq5ugW-kQZmfFXCcRTokK-dS1re7tdUyiQKDgxA5RsGrrVnl2yrsLAR1mVY/s1600/FullSizeRender+23.jpeg"></a></div>
<br></div>
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<span lang="EN-GB">From Frederike’s balcony we could see a
huge park, full of maple, sycamores and acacias on fire with the last yellows and
reds of Autumn. After having a snack, we made our way down to the park and
strolled around. What struck me first was that all the signs were in Kurdish,
and Kurdish only. In the mornings, a group of women do Pilates on the grass, apparently.
Now some kids were playing volleyball and people sipped tea next to duck-filled
fountains. We ran into two old men sitting on a bench and playing checkers using
different colored rocks they had found on the ground. Their board was a card
board box on which one of them had drawn squares. In the center of the park was
a huge statue with the Universal Declaration of Human Rights engraved upon it
in Turkish. Diyarbekir is a political city.<o:p></o:p></span></div>
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<span lang="EN-GB">At the end of the park was the clothing
store <a href="https://tr.foursquare.com/v/heft-reng/52011a8d498ed9fb670139ec">Heft Reng</a>—"Seven Colors", a store that sells traditional Kurdish cil <span style="background-color: white; font-family: "open sans" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 22.4px;">û</span> berg (clothes) along with modern T-shirts with captions in Kurdish. I love to go here every
time I visit because it is the only place I have found where people actually
want me to casually speak Kurdish to them and will tolerate my mistakes and slow sentences. I know very little of the language but it is always exciting
to be able to shop and pick out something in a new language.<o:p></o:p></span></div>
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<br></div>
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<span lang="EN-GB">We stopped in Aram Book Store at the end of
the park to have a look around and have a tea. My sister-in-law met up with us
there and brought along a friend, Hasan. Hasan was apparently a writer and had
recently published a book on philosophy. We sat for an hour and talked
politics. The walls were decorated with pictures of Kurdish writers and poets.
Two in particular captured my attention, one because I like the poem, the other
because I could understand her poem. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIxnOr4SpBweQKZvcO91ZRXegcH6Pr0BEbs4EhtV0WAFTo0GABRyjYfY7UXBCUIu6fjpzIaNA_fF-1koO3gBzPmgGDp6M8kJt_RxbixF58rsdHPpSH_Cv1Vo6JBmebV1aj3ocyo6lBkb4/s1600/IMG_3347.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIxnOr4SpBweQKZvcO91ZRXegcH6Pr0BEbs4EhtV0WAFTo0GABRyjYfY7UXBCUIu6fjpzIaNA_fF-1koO3gBzPmgGDp6M8kJt_RxbixF58rsdHPpSH_Cv1Vo6JBmebV1aj3ocyo6lBkb4/s1600/IMG_3347.jpeg"></a></div>
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<span lang="EN-GB">The first was a poem by Ş<span style="background-color: white; font-family: "open sans" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 22.4px;">ê</span>rko B<span style="background-color: white; font-family: "open sans" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 22.4px;">ê</span>keş:<o:p></o:p></span></div>
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<br></div>
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<span lang="EN-GB">If, from among my poems,<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">You remove a single rose,<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Then one season <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Of my four seasons dies.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">If you remove a lover<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Two of them die.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">If you remove bread<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Three of them die.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">And if you remove my freedom<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Then my years die,<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">And<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">I, myself, will die as well.<o:p></o:p></span></div>
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<br></div>
<div class="MsoNormal">
<span lang="EN-GB">The second from the female poet Evrim
Alataş<o:p></o:p></span></div>
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<br></div>
<div class="MsoNormal">
<span lang="EN-GB">As long as you<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Don’t understand the Kurds’ ambition<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">You cannot<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Understand a thing <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">About the Kurds.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><br>
After the book store we went to the theatre. This was the last day of the city’s
theatre festival (Fest<span style="background-color: white; font-family: "open sans" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 22.4px;">î</span>vala Şanoy<span style="background-color: white; font-family: "open sans" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 22.4px;">ê</span>) and they were performing a modern dance
piece about <a href="http://akakurdistan.com/kurds/stories/leilabedirkhan/index.html">Leyla Bedirxan</a>, a Kurdish woman who lived in Paris. She was the daughter of an exile, raised in Turkey, Egypt and Europe and master of dance. The troupe’s name was Mesopotamia Dance and they were performing a fairly abstract piece about her life. </span><br>
<span lang="EN-GB"><br></span>
<span lang="EN-GB">We boarded a minibus to the City Hall where the performance was taking place. An odd thing happened on the way. We passed by one of the ubiquitous police "scorpion" tanks and suddenly there was a loud pop. We thought a tire had blown, but suddenly the air filled with tear gas. The streets were dark, no demonstrations were anywhere near, no people, for that matter, and yet it seemed that the scorpion had fired a gas canister into the empty street. The driver commanded everyone to "close the windows" and floored it--speeding us through the gas without even a slight burning sensation to disturb us. Such maneuvers were clearly old hat. </span><br>
<span lang="EN-GB"><br></span>
<span lang="EN-GB">Upon arrival at the theater, I learned
quickly that whatever peculiarities governed life in Istanbul, they were
intensified here. We bought out tickets for a dollar only to find a house
literally packed to the walls with nowhere to sit. No one seemed to mind and so
we chose a place at the back and stood, leaning against the wall.<o:p></o:p></span></div>
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<span lang="EN-GB">It opened with darkness and the sounds of
thunder and of a house creaking and straining under the brunt of a
storm. A spotlight fell on a woman lying on the stage and the snap of boards
breaking and glass shattering filled the air. She moved her body to every
noise, to every rumble and crack. She seemed to possess absolute control over every muscle in her body. We were impressed. </span><br>
<span lang="EN-GB"><br></span>
<br>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxgvcN6xbM48rb4E1pfYYfwiN3FJwBl2LqlIZbAEl6y11Yo4WK5D6AS_T1AzmQ0gdPu_65afY4Um-059ExPgg' class='b-hbp-video b-uploaded' frameborder='0'></iframe>
</div>
<span lang="EN-GB"><br></span>
<span lang="EN-GB">Videos <a href="https://www.youtube.com/watch?v=LHi3OA4oeJU">here</a> and <a href="https://www.youtube.com/watch?v=eOzfdywisoE">here</a>.</span><br>
<span lang="EN-GB"><br></span>
<span lang="EN-GB">The rest of the performance was gorgeous, one
woman and three young men, sometimes dancing in synch and sometimes in a kind
of round of body movements, one cascading off the other. At the end, the crowd
leapt to their feet and the city’s co-mayor, <a href="https://en.wikipedia.org/wiki/G%C3%BCltan_K%C4%B1%C5%9Fanak">Gülten Kışanak</a> appeared on stage
with red roses. This woman is one of my favourite politicians in Turkey. I will
never forget the elegance of her speech in Parliament during the Hunger Strike
and how, without breaking stride, she silenced the rightwing nationalist men
trying to shout her down with a simple but effective, “Shut your mouths! Shut
your mouths! Shut your mouths!” Childish words maybe, but spoken with such
command and dignity that they did shut up, as they never had before.<o:p></o:p></span><br>
<span lang="EN-GB"><br></span>
<br>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbh77unIkFjp_tzigsZLkq4A-e1Y4IhwatwD1OgxeGPLASVtZNAITcICycdbQbGQWDq8__Ws77-ogrZK0bLyAZsSEaPK4bPeVUFh0nn_bnMvImi0aP0CYW6BjaN-yqsuUP3bT-xxYwS00/s1600/FullSizeRender.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbh77unIkFjp_tzigsZLkq4A-e1Y4IhwatwD1OgxeGPLASVtZNAITcICycdbQbGQWDq8__Ws77-ogrZK0bLyAZsSEaPK4bPeVUFh0nn_bnMvImi0aP0CYW6BjaN-yqsuUP3bT-xxYwS00/s1600/FullSizeRender.jpg"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The dancers on stage with Gülten Kışanak</td></tr>
</tbody></table>
<span lang="EN-GB"><br></span>
<span lang="EN-GB"><br></span></div>
</div>
Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com0tag:blogger.com,1999:blog-7568989191454832962.post-42707967403250110172015-11-02T10:58:00.000+03:002015-11-02T21:34:11.159+03:00The Turkish Election--Observations from the Voting Precincts<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>After last
night, I have to write something about this election. I am no political
analyst, but it’s hard to know what to analyze anyway. The majority of the
media is in the government’s hands now—including the channels that report
election results--and most of the major foreign press agencies take their news
right from them anyway. (I did learn that the lira rose a bit, with everyone
praising “stability”. Money is amoral.) <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>But let me
say this. The official national election board, the YSK, said that the final
election results would not be released for another two weeks. Their website,
where we followed the results rather easily on June 7<sup>th</sup>, was shut
down most of last night. Add to that the idea that the AK Party, within a few
months, supposedly raised their percentage of the votes from 40 to 50—mainly
through the leaking of votes to them from all the opposition parties. Never
mind that most of the opposition parties are diametrically opposed to the AK
Party. More importantly, they are all radically different from one another. So
how could similar conditions cause the green, leftist, minority HDP party to
give votes to the AKP and the borderline fascist nationalist, right wing
religious MHP to do the same? And of course, reports of fraud and vote meddling
pour in on Twitter and other social media sites. <span style="mso-spacerun: yes;"> </span>Sour grapes? Maybe a little.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>I’d like to
explain at least what I personally saw and experienced.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Yesterday
morning I showed up around 6:30 in the morning at a school near our house, the
election precinct where my wife would be working.<span style="mso-spacerun: yes;"> </span>I could not do anything official, of course,
but I could at least provide moral support and run errands, fetching water and
what not. Our ballot box was manned by a ballot committee made up of four
women. There were two from the CHP (Republican People’s Party), one from the
ruling AK party and one from the election monitoring organization Oy ve Ötesi
(The Vote and Beyond). There was also a civil servant, himself from the AK
Party and another guy that just showed up out of nowhere, neither election
observer nor member of the ballot committee.<span style="mso-spacerun: yes;">
</span>He took every opportunity to help count ballots, move envelopes, arrange
the ballot box and in short, touch the official papers as much as possible. I
am pretty sure that this is illegal, but no one heeded the objections. I didn’t
catch him doing anything shady, however.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
The little irregularities.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
During the day, I personally heard at least two people take
pictures of their ballots while in the ballot booth. This is a common tactic. You
take a picture and send it to the AKP who then pays you for your vote. They
were warned and the incidents were entered in the minutes, but there was little
else to be done.<span style="mso-spacerun: yes;"> </span>The votes stood. And
this was DESPITE the fact that their cellphones had been confiscated, which
means they had a second phone hidden away to do the job. I am pretty sure two
more men did the same thing, though we didn’t hear the camera click. One of
them came in with his arm around the other, shouting rather loudly, “You know
who to vote for! You know what to do!” and then for good measure, walked him to
the voting booth and whispered something in his ear. When he was warned by the
committee that no attempt at persuasion was allowed and commanded to step away
from the booth, he told them it was okay because, “I am a committee chairman
here.” My impression, from the way they were acting, was that the two men had
just met.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Another man brought in his Down’s Syndrome daughter.
Technically, she gets to vote on her own, but the father insisted she needed
his help and raised such a fuss, shouting and threatening the committee, which
in turn set his daughter screaming too, that he bullied his way into the voting
booth at her side. Two votes for him. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At about three o’clock, the hallways filled with groups of
young men roaming randomly. I caught them in the bathroom smoking and writing
tweets—Aktrolls? I wasn’t sure, but then three of them showed up in our ballot
box around 15 minutes till the closing of the vote. “We are observers,” they
said grinning, arms around each other. “We’re going to make sure everything
goes like it should.” When the committee chairperson asked for their cards,
they showed her IDs for the AKP. One of them wouldn’t show her anything, and
they left. In the meantime four men from the AKP came in to monitor the vote
count—this brought the total AKP representation to seven people to every other
party’s one.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The little guy who had been there illegally touching things
since the morning took it upon himself to open the ballot envelopes. He wanted
“to help”. As the ballots were counted, another little man in a purple tie
suddenly muscled his way into the room, shouting and gesticulating wildly at
the committee chairperson.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“You will pay for this insult,” he said, slamming his fist
down on the ballot boxes. “You don’t know who you’re dealing with.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The chairperson kept her cool. “I’m sorry sir, but what is
your complaint?”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“You’re saying the AKP.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“Yes?”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“You are insulting our president and his party!”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“I’m sorry?”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“You will call it the Justice and Democracy Party! You will
not use an acronym! Maybe you do that with your friends on the streets but not
here! You’ll pay for that insult! Don’t you know who you are dealing with? I’ll
make you pay!”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Please keep in mind that this is in a country where a 13
year old was recently sentences to prison for “insulting” the president. In any
case, no one could understand what he was going on about. But I had read in the
HDP’s election instructions that one tactic of the AKP was to start fights
around ballot counting time, provoking representatives of the opposition into
doing something that would get them thrown out. And indeed, he almost
succeeded. The woman who represented the CHP almost charged him and had to be
held back. He’d asked her if she and her mother, who was sitting in the room as
well, would enjoy being called the “Party of the Idiots.” He came in twice and
tried the same thing. Security was called but did not come. The lawyers were
called and laughed at the man’s complaint, but no one could get him out. The
AKP man sitting next to me finally winked at him and said, “We have this room
taken care of brother, don’t worry.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Around six o’clock when our ballot box was only half way
counted, the groups of young men outside began shouting victory slogans for the
AKP. They paraded the parking lot in their cars and honked horns flashing hand
signs and chanting the President’s name. Soon after, the government controlled
news agencies—which are the only agencies we have these days—began announcing
results. Startling, incredible victories for the AKP! Almost immediately,
several observers from the opposition parties left—though the votes had not
been fully counted! Almost no monitors for the last of the process.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I helped my wife gather the minutes from the ballot boxes.
At 9:30, they were still not all in. One extra vote popping up here, one
disappearing there—a normal thing when you dealing with all this counting probably.
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The ballots were all put in a sack to be taken to the
central committee. Technically, each ballot box was accompanied by the
committee chairman for that box and two other representatives from different
parties. The last two ballot boxes were on their way out the door and we asked all
the non AKP party members who was going to accompany the ballots. Oy ve Ötesi
was gone. A woman with the CHP said that she was sure someone from her party
was going, but that she couldn’t. When we asked around, we discovered that no
one was going. They all thought someone else would do it. Everyone was moping
over the terrible loss though the votes had not all been counted by a long
shot—and so they were leaving the last of the ballots to a vanload of over 10
AKP women! This was another tactic the HDP’s election brochure warned
about—early announcements of victory to demoralize you and cause you NOT to
follow the vote count or the safe delivery of the ballots. And it worked. Not
one CHP from our school rode with those ballots. We ended up riding along by
default, promising the CHP woman to keep an eye on things.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The police drove. Remember all security forces are firmly in
the hands of the president personally. Instead of going down the road next to
the school which took you on a straight shot to the election center, they took
a round about route that wound us past the president’s house and got us stuck
in a crowd of hysterical young men waving AKP flags from their cars. Almost
certainly on purpose—this circuitous route. I couldn’t help but marvel at the
malleability of young men. All these boys cheering this wealthy autocrat—and why?
What for? They are so easily militarized and fanaticized. What the fuck is
wrong with my gender?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At election central, where the ballots are handed over to
officials—we accompanied a group of five AKP women. When they turned in the bag
full of votes, they formed a barrier with their bodies around the table that my
wife tried to muscle her way through—but one of them literally blocked her with
her shoulder. I don’t know if anything shady went on here, either, but the man
they gave the ballot minutes to pointed out that none of them had been signed
and then said something about one of the numbers being wrong. He pointed to the
tally sheet and said, “You have to follow this!” and then wrote over one of the
numbers on the minutes. The AKP ladies did not object.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And then we went to the HDP office and watched Selahattin
Demirtaş and Figen Yüksekdağ deliver the party’s official stance on the results.
Essentially, things would be investigated and an official report released, but
it looked like they were accepting the results for now. Both did emphasize that
this was a victory for the HDP. <o:p></o:p><br />
<br />
Why?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Over 190 HDP offices and Kurdish business had been attacked
by mobs, in some cases burned down. Dozens of party officials had been arrested
in weekly “antiterror” operations. The media had been seized by the government
and all its organs devoted to a smear campaign against the HDP (the latest
slander, for example, being that American intelligence was behind the HDP’s
campaign—what campaign?—an accusation which even awoke our embassy from its
slumber and inspired a very angry retort deploring the ‘despicable lies’).
Finally, two massacres, most likely with some official collusion, had killed
over 100 of our people and terrified the whole nation. Campaigns and meetings
were canceled out of concern for the safety of the attendees. And finally, the
ongoing war in the Southeast. On election day, many Kurdish villages were unable to vote at all. Gendarmes blocked the roads and told them they couldn't leave because there was an "operation." In spite of all of this, the HDP crossed the 10%
threshold and made it into parliament.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I have seen a few Westerners express a hope that this
election will spell an end to the “polarization” of the last few months. I take
issue with that word. Polarization implies two equally uncompromising sides. It
implies that if they would just sit down at a table and try to understand one
another’s position, they might realize how unreasonable they’re being and how
compromise will save the day. I don’t think you can use this word when one side
is so much more powerful than the other. When they use that power to
deliberately radicalize their followers, because they know that makes them more
powerful. When they allow the murder of their own citizens to achieve political
aims.<span style="mso-spacerun: yes;"> </span>When they hire the mobs and arm
them and lead them to the kill. When those mobs are so willing to do the job.<o:p></o:p></div>
<div class="MsoNormal">
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<div class="MsoNormal">
Among ordinary citizens maybe it’s polarization, but those
gangs of boys stick in my mind—wave after wave last night roaming the streets
of Üsküdar. <o:p></o:p></div>
</div>
Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com3tag:blogger.com,1999:blog-7568989191454832962.post-62474826477229911562015-10-17T10:50:00.003+03:002015-10-17T13:16:07.956+03:0010/10/2015 Ankara. After such knowledge, what forgiveness?<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6YmhSz5R0bm0Z832TKyYMYc7Y2WCkUHVFWBUPbFO9SoSOu-bDaMke9rNh5L7LPZfSWrD1hcXqFo5TAv_QCVh_gDZa1S2BtZ4ZrkdOVCi3nXl1NZYJ461wczvAauaIjehqrv-uEPaqbi0/s1600/black.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6YmhSz5R0bm0Z832TKyYMYc7Y2WCkUHVFWBUPbFO9SoSOu-bDaMke9rNh5L7LPZfSWrD1hcXqFo5TAv_QCVh_gDZa1S2BtZ4ZrkdOVCi3nXl1NZYJ461wczvAauaIjehqrv-uEPaqbi0/s1600/black.jpeg" /></a></div>
<div class="MsoNormal">
Whatever I write will fail. But something has to be written,
though the words have all been gutted. People say “massacre”, “murderer”,
“barbarous”, “genocide”, “liar”, but we have been using those words for years,
and they have exhausted their sting. So what’s left? Something hurts and we
need something besides rhetoric and ideology to answer it. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Today, I was coming off the ferry in Kadıköy. It was windy
on the wharf. There were the usual gypsy flower sellers, the simit stands, the
Black Sea band by the water. Some schoolgirls were tossing bread to gulls and
terns flying by the sea. A melancholy, beautiful blue sky reflected in the
waves. Near the highway there was an AKP election tent. A group of men stood in
front, holding pamphlets no one was taking. One disheveled, bearded man handed
some brochures to a boy I assumed was his son. I stopped. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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“Monsters,” I said aloud, reflexively. “Killers.” And the
whole world seemed to go dark with hate.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The whole afternoon had changed. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Everything has changed.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I’ve never kept an enemy. When I think about it now, I’ve
never truly hated anyone, not for very long and not for real, but for the past
week a storm of violent thoughts has raged in my head, and they profoundly
disturb me. Worse, I don’t really want them to go away. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Last week, over one hundred innocent people were blown to
shreds in a bomb attack in the capital of Ankara. More have died since and
countless others are lain up in the hospital. The victims were students and
middle-aged mothers and grandfathers. There were two young newly weds and an
eighty year old woman, one of Turkey’s “Saturday Mothers” who for years has
protested the State’s disappearing of her son. They were all gathered for a
peace march, to protest the renewed fighting between the Turkish Army and the
PKK. Their bodies were literally blown apart, so that even days after the
attack chunks of meat are still being found in the area around Ankara’s train
station. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The people of the AKP party, the people I now stare at on
this wharf, have been celebrating these murders. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A glance at the week’s news.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On Sunday, <a href="http://www.milliyet.com.tr/tugba-ekinci-den-tepki-ceken-gundem-2130327/">pop star Tuğba Ekinci tweets to President Erdoğan</a>
in response to the murders, “We should remake the East, take the clean people
and put them in government housing and then bomb the rest to oblivion.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On Wednesday night, in Konya, at a soccer game between
Iceland and Turkey, the two teams stand on the field for a moment of silence to
mourn the dead. <a href="https://www.washingtonpost.com/news/worldviews/wp/2015/10/13/watch-turkish-soccer-fans-boo-minute-of-silence-for-ankara-terror-victims/">The Turkish fans jeer and boo them</a>. Some shout Allahu Akbar. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On Friday, former President Gül tweets, "If we cannot even express our sympathy, how can we still claim we will live together?" After the bombings, he had called HDP co-chairman
Selahattin Demirtaş to express condolences and had been reprimanded by the AKP.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A media ban is issued. No one is allowed to report on the
investigation on the bombing. Lawyers for the victims are banned from accessing
their files. This does not apply to the government papers, who report daily on
the results of the investigation. ISIS was working with the PKK, they say. The
Kurds bombed themselves to get votes, they say. And then because these absurdities
are the official news, foreign agencies pick them up and introduce their
obscene assertions with phrases like “The Turkish press has determined…” “The
Prime Minister’s Office says…”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You can only stand aghast at the way such malignant
disinformation becomes news. It’s an abomination, a deliberate polluting of the
memory of those who died.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The trouble is the foreign press can’t read the secret
codes.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Days before the bombing, a mafia boss named Sedat Peker led
a rally in Erdoğan’s hometown in Rize. He said to the maddened crowd, “We will
make all of their blood flow like a flood!” On Thursday, he was awarded two
police escorts by the state security bureau to guide him around—presumably to
protect him from revenge attacks against those who “misconstrue” him as
responsible. This is one of those things that someone not neck-deep in recent
Turkish history would never get the significance of. This man worked with the state
in the nineties—implicated in murder, racketeering, everything you can think of.
He is what’s called a Turanist, a Turk who believes that the destiny of Turkey
is to seize all the land belonging to Turks from Xinjiang to Anatolia and
transform it into Lebensraum for the master race. People know, but have never
proven, that he was involved in the Deep State assassinations of the 90s.
People suspect, with good reason, the hand of the Deep State in this bombing,
too. No one assigned an escort to Hrant Dink when he received direct
assassination threats, and he was shot in front of his own office in a case
that is still ongoing and implicates many government officials. And what does a
mafia boss who controls a crime organization need with someone else’s security
anyway? The assignment of state protection is a message to the country that
most foreigners, and certainly the press wouldn’t understand. A sly wink.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And there are so many such messages. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Articles in Turkish newspapers reveal the names of the
bombers. They <a href="http://www.cumhuriyet.com.tr/haber/turkiye/389483/Polis_bombacilari_biliyordu.html">had been tracked and bugged and followed by police</a> for two years, taken into custody but not arrested because, quote, “there
was not enough evidence against them,” despite the fact that their ISIS cell, the "Weavers" (Dokumacılar) had been infiltrated for months. The press calls this a "security lapse". Yet the same papers reported the arrest
of three foreigners aid workers, helping Syrian refugees at the Bulgarian border—taken in for spying, working
with Israel, and various other made up comic book crimes. And what about the arrests of thousands of Kurdish politicians in 2011 based on thousands of pages of phone taps? Or the arrest of people <a href="http://www.imctv.com.tr/eskisehirde-ankara-katliami-tutuklamalari/">PROTESTING THE ANKARA MASSACRE?</a> The message? Anyone living in
Turkey knows that arrests are never made on the basis of real evidence. The security net, when they want it to be, is absolute. Letting
these murderers roam free is a political choice, a chess move.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In Forbes, an article comes out that gives a paragraph to
one of the forbidden eye-witness reports. A man was trying to help a woman who
was bleeding to death. A cop yanked him off of her. “Don’t help them! They’re
terrorists.” Others report that the police formed a line that prevented the
crowd from escaping after the first bomb went off. In today’s paper, you read
of a doctor massaging a man’s heart and being tear gassed by riot police who
ran through the crowd of bleeding and dying beating and gassing whomever they
found. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One of these injured is my wife’s friend Gülşen. She is a
young woman in her early thirties, barely five feet tall.<span style="mso-spacerun: yes;"> </span>She lies in the hospital with a wound in her
leg, infected because it is filled with bits of bone from other people. Because
of the infection, she has been kept in isolation. She had assumed that the
doctors were lying to her. That the wound wasn’t all that serious but that all
her friends were dead and they were trying to protect her from this knowledge.
For days, she waited for the “truth” that she was the only one left alive.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On Sunday, we went to the funeral of Kübra Meltem Mollaoğlu,
a woman who worked at the Üsküdar HDP office with my wife. As the imam spoke
prayers over the coffin, her twenty something daughter wailed and wailed, MOM!
MOM! Something in the crowd broke when the pall-bearers began to carry it to
the hearse. “MURDERER ERDOĞAN” they shouted. The men in the woman’s family
tried to shush them. “Not here!” they hissed. Did they not approve of the chant
or of the politicizing of the funeral? There were riot cops all along the
street and a police helicopter overhead, monitoring the burial of this woman
who chose to work for a cause that for the first time, offered something
besides strongmen and race hate. Would the police attack? Would they let
someone else attack? What was the point? What could these boys in their riot
helmets be thinking?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When I consider these cops and that boy in the AKP tent,
when I think of the fans in Konya jeering the moment of silence or that awful
pop star. When I see the names of the police who gassed the dying in Ankara or
think of the faces of the young men behind the helmets at the funeral, I want
to see them suffer. I want them to go into prison and die under the torture
that their kind used for years in Turkey’s prisons. And then I want the old
religion to be right. I want to see their souls cast into the pit. I want to
see them burn. I want to stand on the edge of the Pit with Azrael and hear them
scream.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What ugliness they have awakened in my soul! In all of our
souls. And I have no resistance any more, I don’t want to mediate, I don’t want
to compromise or sit at a table and discuss our opposing views. This isn’t
polarization anymore. This is a moral choice, to stand with monsters or against
them. And I know how awful that sounds, how dehumanizing and demonizing, and
what this government and the racism has done to me results in what I am
now—someone sick with vengeance, who wants to feel this way, who is comforted
by nothing else. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And if I feel that way, a newbie on the outskirts, what must
countless others feel? For those still shouting peace I feel nothing but awe.
There was a Kurdish woman whose video went viral on Twitter after the killings.
She shouted, “We will have peace. Kill us, murderer us, butcher us. We will
still have peace!”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com0tag:blogger.com,1999:blog-7568989191454832962.post-59230547612846744262015-10-06T13:19:00.001+03:002015-10-06T17:08:32.269+03:00The Bienal: Part 2<div dir="ltr" style="text-align: left;" trbidi="on">
On Saturday, we went to Beyoğlu and Karaköy for Bienal exhibits. As I explained in my last entry, most of the installations are inside the city, not in a museum or a special venue but in the old mansions and köşks and historical buildings that normally are all boarded up or somehow else impossible to enter. A living part of Istanbul that makes the city and her past as much on display as the art. Each piece and place reflects and echoes some of the fear and darkness of the past, and of the present.<br />
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In Beyoğlu, we found an exhibit in a Greek mansion built in 1915. The artist has carved into what looks like slices of trees Armenian symbols and placed them in the ceiling. You lie on yoga mats on the floor and look up at them. The symbols are especially known by local "treasure" plunderers, for when the Armenians were driven out of their villages, they often hid their belongings somewhere in the landscape--or so it was believed--and marked or mapped out the location with these symbols carved into rocks. There are snakes and hawks and scorpions and ghostly figures marching in a line. The house itself is abandoned and dilapidated. You can wander all the floors. The walls themselves are works of art--layers and layers of colors painted one over the other and chipped and rotted and decayed.<br />
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Down the road from the Greek mansion, is an empty parking garage scheduled for demolition by the demolition-obsessed city government. Not that it's an architectural wonder or anything--just a vast empty gray space in which an exhibition consisting exclusively of sound has been installed. Clicks and drips and heartbeats and echoes of car noises fill the empty space. A blue collar place about to be gentrified into a upscale mall or hotel.<br />
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Down on Bank Street, a few Bienal exhibits are houses in the Salt Gallery, set in the gorgeous 19th century Neo Classic Ottoman Bank designed by <span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">Aléxandre Vallaury.</span><br />
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<span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><br /></span><span style="color: #252525; font-family: sans-serif;"><span style="background-color: white; font-size: 14px; line-height: 22.4px;">In the basement</span></span> is an installation called "How Did We Get Here" about the censorship of books and life following the 1980 coup. It echoes what we are going through now--as journalists are attacked on the street, ordinary people are arrested for insulting Erdoğan during discussions in city parks, and a new campaign of coup-era nationalism has been revived resulting in war in the East and mob attacks on Kurds in the West. Among the titles censored by Turkey's military on "moral" grounds are Einstein's Theory of Relativity and the Plague by Albert Camus. The hatred of knowledge and science and intelligence and enlightenment is absolute.<br />
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In one section, artist Hale Tanger has reconstructed an apartment from the 1980s--complete with radio blasting military news and children's notebook filled with nationalist slogans and praises to Atatürk. All the rooms are Spartan, black and white, military clean--except for one. A small door leads to a closet full of hidden things--costumes, jeweled mirrors, colorful yarns. Soul and imagination and play stay cowered in the back.<br />
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<tr><td class="tr-caption" style="text-align: center;">Playing with the toys and costumes in the closet</td></tr>
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In the Istanbul Modern, we see a young man with his shirt unbuttoned halfway down to his belly angrily approaching the young student workers one by one. "How dare you put something in this place that the State does not approve of!" he rants at one girl near the entrance. He spends at least an hour stomping from sign to sign, looking for the word "Armenian"--and every time he finds it, he harangues the nearest Bienal worker. It's almost a performance in itself. Will he come back with a mob and attack someone, burn something, kill someone even to deny there are killers in Turkey's past? Was he sent here by some government agency or just lone freak?<br />
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<tr><td class="tr-caption" style="text-align: center;">The angry young defender of the State</td></tr>
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He hates this: A scroll painted with the crimson derived from an Anatolian insect. The secret of extracting the dye is known only now in Armenia. Drawings with the dye gradually give way to a more modern, industrial red--the red of the Turkish flag that blocks out the organic color of the past.<br />
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He hates this: a painting by an Australian, Vernon Ah Kee, who saw in the "violence in Turkey's East" a parallel with his government's oppression and massacres of the Aborigines, particularly the Palm Island riots of 2004.</div>
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This installation by Sonia Balassanian--an Iranian Armenian--particularly enraged the young man. It is tuff stone from quarries just over the Turkish border in Armenia, across from the ruins of Ani. Each one resembles a head and seems to recall the deportation and murder of Istanbul's Armenians in 1915 as well as the beheadings in the Middle East today. The man tells the young girl manning this installation, "You people have turned this place into a house to worship the Armenians and insult the motherland!"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT2rJjbX0V4L1fIouEkWyO8bNfBGOF38fOdvrLTS1PAMdYupPMj01EcHxG5KTl2muS6IN5ZlmfyCd0SIXod3CadUNQ5-VDZ3l4EiauJMNNPngLqBtHtYzStryzNseUVpJ7i5A2S1swsH8/s1600/FullSizeRender+21.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT2rJjbX0V4L1fIouEkWyO8bNfBGOF38fOdvrLTS1PAMdYupPMj01EcHxG5KTl2muS6IN5ZlmfyCd0SIXod3CadUNQ5-VDZ3l4EiauJMNNPngLqBtHtYzStryzNseUVpJ7i5A2S1swsH8/s1600/FullSizeRender+21.jpeg" /></a>Another exhibit takes the abstract economics data--graphs, charts, projections, and uses everyday materials to turn them into three dimensional forms. A rainbow colored pattern of sticks are the annual work fatalities in the coal industry, a three dimensional web of colored wire is a graph of industrial pollution over time. They are beautiful, and as Delal says, when I look at them, I get a strange feeling at the front of my forehead, like a part of my brain is developing that wasn't there before: the abstract ideas turned into math, turned into pictures, turned into toys.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7NqOPpunfG0zbVTClb5xyFbG3vpO3-ancm4ozKyVKKXvzaFHw0Klohy6rkV6VUx7qaGZeeIlUl9QQ7sYN8y9QUcIitnK5aEdUJx4ehF_rgjv-rHN8Ok4zDDjS6d_5ZwhMX9ft0oRN7k4/s1600/FullSizeRender+20.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7NqOPpunfG0zbVTClb5xyFbG3vpO3-ancm4ozKyVKKXvzaFHw0Klohy6rkV6VUx7qaGZeeIlUl9QQ7sYN8y9QUcIitnK5aEdUJx4ehF_rgjv-rHN8Ok4zDDjS6d_5ZwhMX9ft0oRN7k4/s1600/FullSizeRender+20.jpg" /></a>One last exhibit is in the museum library, a thought experiment by Lebanese artist, Marwan Rechmaoui. It represents the kind of "partial censorship" prevalent in the world today, where the choices look like they are there, but nevertheless are not--a perfect metaphor for Turkey, where we are constantly being told by the government how free everything is and yet drowned in censorship. the library book shelves are covered with a clear plastic wall. In each section there is one slot where one book can (with difficulty) be pulled out and read. You can see all the others, but not touch them.</div>
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<span style="text-align: left;">In the Italian high school is a film by a director from Inner Mongolia and a video by a German-Turk making a journey across Bulgaria to explore how the Ottoman past is remembered. From the top floor, glancing out the window toward the courtyard, you can see the vast ruins of the dilapidated French orphanage, now hidden behind other buildings in Beyoğlu. It's symbolic in itself--showing how behind the city's facades are gigantic relics of a past erased or purged.</span></div>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com0tag:blogger.com,1999:blog-7568989191454832962.post-74126913369405312482015-09-23T11:13:00.000+03:002015-09-23T11:21:26.982+03:00Wandering the abandoned mansions--the Bienal on Büyük Ada<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="TR" style="color: #333333; font-family: Arial;"><i>I
had a dream when I was a freshman in college, the culmination
of a lifetime of recurring dreams of haunted houses. I wandered lost inside a wood mansion, full of stairways and panels in the wall, and rooms
within rooms. I could feel there was something else in there with me,
something unseen. Up and down stairs, empty rooms full just a second before I
entered. I opened a panel in the wall of the living room and climbed down a
narrow step into a basement room with a fireplace. Removing the bricks of the
fireplace revealed another room. I knelt down and peered in—the feet of a
chair, a dark red carpet. It was also fire-lit and I knew that whatever presence
I had felt waited there. I crawled
through and woke up.</i><o:p></o:p></span></div>
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<span lang="TR" style="color: #333333; font-family: Arial;">I
like art that raises a question in your mind that your rational side can’t
answer—only an image, only an experience can provide some kind of release. The
Istanbul Bienal has several exhibits this year among the crumbling mansions and
köşks of Büyük Ada. The exhibitions and venues work together to weave a spell.
When the exhibition disappoints, the house takes over. <o:p></o:p></span></div>
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<span lang="TR" style="color: #333333; font-family: Arial;">A
break in the old crumbling stone wall. You wander left and down toward the sea
through thick wood—oleander and acacia and fig and palm. There’s a break in the tree and
the red ruins of a köşk—red brick, red rust, the ruin of red blankets ripped up
in the debris.<o:p></o:p></span></div>
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<span lang="TR" style="color: #333333; font-family: Arial; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>It
was once the Yanaros Mansion—a richly
extravagant köşk overlooking the sea. İzzet Paşa, who conceived of the Armenian
massacres under Abdul Hamid II was it’s original owner. Had he stood in one of
those ruined windows and looked out toward the Asian shore dreaming of the killings
to come, of the blood? </span></div>
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<span lang="TR" style="color: #333333; font-family: Arial; font-size: 12.0pt; line-height: 115%;">The house passed to Trotsky, who wrote his history of the Russian revolution
here, </span><span style="background: #FDFDFD; color: #333333; font-family: Arial; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">"It has been four and one-half years. I have the
strange feeling of having my feet firmly planted on Büyükada." At sunrise,
he would from the peer where the strange sculptures now stand in the water.
White animals with mirror images of one another built in sea trash, rotting on
their backs. The dead, the ghosts, the land of monsters, of demons and
invisible presences breaking into the world of the living. </span><span style="font-family: Times; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span lang="TR" style="color: #333333; font-family: Arial;">The
tall ginger-bread towers of the Rizzo Palace jut up over the trees—of all the
houses this is the one that most resembled the ones in my dreams. On the wooden
porch is the small of long years of neglect and rickety old furniture. I catch
the reflection of a woman in a dusty window overlooking a fly strewn table.<o:p></o:p></span></div>
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<span lang="TR" style="color: #333333; font-family: Arial;"><br /></span></div>
<div style="background: #FDFDFD; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span lang="TR" style="color: #333333; font-family: Arial;">Sound
feels the house. Speakers on each floor that makes the walls seem alive. There’s
a dark basement, a narrow stair. You can peek into the ruins of a kitchen, a
bathroom, a study, a broken window. A white curtain still flutters over a white dust window. There are roof tiles on the floor made in
Marseilles, France. On the top two floors is a video. When I first look, a
digital naked dead man is wandering a field of white, muttering “I’m sorry, I
didn’t know.” When I last look, he is on a bed in a house that suddenly
collapses beneath him into a black void.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Qmtp9hIaNfHlMw7PEvH8Po63Y_JvI_BIiLn4GAmRlPzFRtCWXjKWL-k8Y2RlMMyuYf2lLx9mXdhnSsg5rkYPvmmzJJmzMiID8T7xPllcUCWGkvnpAf6J5DTcdoSFkx2ABmMmOwXFyls/s1600/FullSizeRender+2.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Qmtp9hIaNfHlMw7PEvH8Po63Y_JvI_BIiLn4GAmRlPzFRtCWXjKWL-k8Y2RlMMyuYf2lLx9mXdhnSsg5rkYPvmmzJJmzMiID8T7xPllcUCWGkvnpAf6J5DTcdoSFkx2ABmMmOwXFyls/s1600/FullSizeRender+2.jpeg" /></a></div>
<div style="background: #FDFDFD; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<br /></div>
<div style="background: #FDFDFD; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span lang="TR" style="color: #333333; font-family: Arial;">I
followed one woman as she peered behind a blackout curtain into the ruins of a
bedroom—high ceiling, blue curtains, broken furniture and dust and a giant
mirror with a French inscription, delicately carved woodedn frames. <o:p></o:p></span></div>
<div style="background: #FDFDFD; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span lang="TR" style="color: #333333; font-family: Arial;">“Muazzam!”
she whispered. And something else waiting in that room heard her, something
that no one had recognized in a century.<o:p></o:p></span></div>
<div style="background: #FDFDFD; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW0BBe6wGrnJlO9PIDe8WC1yBkn117_CWrwQNxOtxI9HeXAzeT9DZm4kP6VFSmLog0-Gk7U5NOkKMNhQeogkK0DVxkBhZVG3D9WZiPSNPks3Jm2rQuwRc_stSFtecPuY6WRqHv6UD_6Ao/s1600/FullSizeRender+3.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW0BBe6wGrnJlO9PIDe8WC1yBkn117_CWrwQNxOtxI9HeXAzeT9DZm4kP6VFSmLog0-Gk7U5NOkKMNhQeogkK0DVxkBhZVG3D9WZiPSNPks3Jm2rQuwRc_stSFtecPuY6WRqHv6UD_6Ao/s1600/FullSizeRender+3.jpeg" /></a></div>
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<span lang="TR" style="color: #333333; font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span lang="TR" style="color: #333333; font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span lang="TR" style="color: #333333; font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span lang="TR" style="color: #333333; font-family: Arial;">The</span><span lang="TR" style="background: #D0E0E3; color: #666666; font-family: "Palatino Linotype"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span><i style="mso-bidi-font-style: normal;"><span lang="TR" style="color: #333333; font-family: Arial;">Cihannuma</span></i><span lang="TR" style="color: #333333; font-family: Arial;">—the World Viewer—a red tower with a 360 degree window that
sticks up into the blue sky from the Mizzi mansion. Mizzi was a Maltese
businessmen. His son, Giovanni, brought a telescope up into this tower and
spied on all the islands and city and sea.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmFVXzuIAX5nS16JefjGY0S1_M5EcPNL0PAMkpHRL3dmoUcr04jmzqJzNjUzbo4ruJfbmNwba3obpUbBm2O16eAjeWyEYYTX2oPMk5Xc-QjKEEVarezWePG53G31GTAwNu4w4ivPHjGFo/s1600/FullSizeRender.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmFVXzuIAX5nS16JefjGY0S1_M5EcPNL0PAMkpHRL3dmoUcr04jmzqJzNjUzbo4ruJfbmNwba3obpUbBm2O16eAjeWyEYYTX2oPMk5Xc-QjKEEVarezWePG53G31GTAwNu4w4ivPHjGFo/s1600/FullSizeRender.jpeg" /></a><span lang="TR" style="color: #333333; font-family: Arial;">Inside
is a “sound” exhibition. Susan Phillpsz has taken photos of a shipwreck and
placed recordings of undersea noises all throughout the empty rooms of the
stone palace. You stick your head through a crack in the wall and there’s the
metal parts of an old Nazi ship and the sounds of something metal on metal
banging relentlessly against each other under water. The light pours in muted
through the stain glass windows. One of the stray dogs had wandered in.</span></div>
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<span lang="TR" style="color: #333333; font-family: Arial;">The art of ruin, of things crumbling away into time but fat with ghosts, hidden spirits and monsters and demons folded in quantum pockets among the rubble. A draft of air caught coming through the autumn wood, a cold memory, the rust, the remnants of the face painted in the wall, rain-washed and snow washed over hundreds of orbits around the sun and flaking off into the dirt.</span></div>
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<span lang="TR" style="color: #333333; font-family: Arial;">On the quay, we end our day with food. The Arab tourists are everywhere. The station for the horse and carriages is behind us somewhere. You can hear the clop of horse feet. the place is a hole in the wall, but crowded with locals. They serve piyaz and köfte only--it's amazing. The crowds, the food, the sunlight--we are out of the spell of the old mansions.</span><br />
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com2tag:blogger.com,1999:blog-7568989191454832962.post-70725269927475106292015-09-21T10:23:00.003+03:002015-09-21T10:23:21.582+03:00Two portraits of Istanbul--another mini photo essay<div dir="ltr" style="text-align: left;" trbidi="on">
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Recently, I've need to reminding of what's special about Istanbul, but even in the midst of the best of the city's charm, there are reminders of what's happening around us.<br />
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Beyoğlu, Europe<br />
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There's a new cafe just down from Galata tower, right in the middle of the "music han", the section of Beyoğlu devoted to stores that sell musical instruments. It specializes in Black Sea food, and the people that work there speak Laz, a dialect of Georgian. Instruments hang on the walls, kemençes, bağlamas, curas. I enjoyed a glass of red wine as Delal reads the news. Across the street is a bookshop playing old Moody Blues with a rack of art books in Georgian, French, German, Armenian and English. There's a book of fables in Kurdish. A Turkish biopic of the band Jethro Tull took a prominent place on one of the racks.<br />
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As the Moody Blues plays, behind us, two blond Americans sit down with an older dark complexioned man. A few seconds of eavesdropping give us the situation. One of the Americans is doing an interview, the other translating from Arabic. The third man is a Syrian refugee. I pick up pieces of his story over street noise, some of it also lost in translation (At one point, a near five minute conversation becomes one sentence when transferred to English.)<br />
<br />
He fled the fighting in Syria to Erbil in Iraqi Kurdistan, where he'd worked as an accountant and made good money, enough to save several thousand euro. Then, for reasons I couldn't catch, he decided to go to Europe through Turkey. Running from ISIS maybe? So far, he'd made the attempt three times--twice by sea and once by land. Each time he'd been robbed by the men who had agreed to take him. The last time, deeming the sea passage too dangerous, he'd paid 4,500 euros to be taken over the border into Bulgaria. The smugglers had bungled the job, they'd been caught and sent back, and of course, they refused to refund his money.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1SUS6lm1IP2HdDHIIRVRDOh24O1u7U3_Z0U2pqGrbp8h2Unl7KFyVpZQPYwL9zcTzz4SUxhO1KhD9QwezYD7niUIv9gyz-M37927KBbVSSuJ7OhKqOefvrnVTKxITana2LPdFgqncq-I/s1600/FullSizeRender.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1SUS6lm1IP2HdDHIIRVRDOh24O1u7U3_Z0U2pqGrbp8h2Unl7KFyVpZQPYwL9zcTzz4SUxhO1KhD9QwezYD7niUIv9gyz-M37927KBbVSSuJ7OhKqOefvrnVTKxITana2LPdFgqncq-I/s1600/FullSizeRender.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">At Çınaraltı "Under the Sycamore" in Çengelköy</td></tr>
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Çengelköy, Asia<br />
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I meet Delal down by the water and we walk past the Greek church and up the hill. Two Ottoman köşks lean into each other over the road, the windows of the two cumba touching. On the wall of one is a faded portrait of Tayyip Erdoğan. Turkish flags hang everywhere. A couple of covered women dressed all in black walk by laughing. <br />
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We wind up the hill. Cats stare at us from walls. On the cement someone has written in Kurdish, "Biji Amed!"--<i>Long Live Diyarbakır</i>.<br />
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Up and up. This doesn't seem like the city we know--too green, too many trees. On the left is a steep swath of weedy wood, filled with fig, chestnut and peach trees and at some points the crumbling ruins of Ottoman mansions. Wild flowers dot the empty lots. At one point, there's a graveyard on the ledge that promises a view of the Bosphorous and the first bridge. We cross through the gate and are stopped by a guy standing outside a white car. It's unclear if he is a caretaker, a guard, just some nosy local.<br />
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"You can't go any further," he says. "It's forbidden. This is the President's land now."<br />
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He points to an area just up the road surrounded by a tall fence.<br />
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"We just wanted to see the view," we explain.<br />
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"There's a nice one," he admits almost apologetically, "But it's forbidden to go there."<br />
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We trace our way back down. A cat hisses at us from a top a <i>kiremit</i> tile. On the gates to one of the mansions is a knocker shaped like a Chinese dragon. We find a serious of cafes along the cobblestone back streets, one decorated with old furniture and antiques. They serve wine at delicate tables outside on the sidewalk. At a büfe on the corner we spy a bearded man in a turban preaching to a table full of young boys. He's talking about death. We don't stop. We don't want to draw attention but I keep hearing that word. <i>Ölüm ölüm ölüm</i>.<br />
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At one point, I ask an old man if he knows where there's a mosque.<br />
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"You have to go to the bathroom," he says smiling knowingly.<br />
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I nod.<br />
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He grabs my elbow and starts to walk me in the direction of the sea.<br />
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"There's a public restroom, just down there."<br />
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He's so full of sympathy that I think he must have just had some horrible toilet-searching experience. Delal says this area still has the spirit of the old Istanbul. We watch the sunset by the water, sailboats and yachts and fishing boats pull up to the seawall.<br />
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We enter one of the cafes and sit at a pretty bay window. I order green tea. It takes a second to see, hanging over the doorway, a pastel drawing of Aylan Kurdi, the Syrian toddler who drowned in the Aegean trying to flee to Greece.<br />
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com0tag:blogger.com,1999:blog-7568989191454832962.post-294349517408882112015-09-19T13:38:00.001+03:002015-09-19T13:38:27.741+03:00Photo Essay--What I Found in Karaca Ahmet Cemetery<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="s1">Today, after a visit to Zeynep Kamil hospital for some routine blood tests, I decided to walk home through the Karaca Ahmet Cemetery—a necropolis big enough and sprawling enough to get me halfway to our apartment by winding through its graves for an hour. Here is what I found.</span></div>
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<span class="s1">Karaca Ahmet is one of the largest cemeteries in the world. It stretches a distance of over three miles, all the way from Üsküdar to Kadıköy, with pieces and patches broken off by highways and high rises. It</span> dates back, according to Turkish sources, to the Arab siege of Constantinople--the last one ending in 782. It is thought that some of the soldiers from that campaign are buried here. Because records are sparse and the place so old, many graves remain anonymous or layered over by more modern ones or forgotten in weed and cat invaded forgotten corners. Among all the relatively modern graves you find pieces of ancient headstones cracked, broken or falling down between modern ones. Some estimate that there are millions of people buried here—a city of dead just as crowded and cramped as that of the living. I found this pile of head stones pushed up against the side of a recently purchased family plot. There were cracks in the ground beneath them with carved stone showing through--these newer graves had been lain over older ones.</div>
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The cemetery is like a labyrinth. For the most part, the graves are so thick, you can't fit through the paths that wind between them. In a city dominated by construction and skyrises and miles upon miles of uninterrupted apartment blocks, Karaca Ahmet is another dimension of green and quiet. There are firs and figs, pines and persimmon trees. In this picture you can see how closely the plots are placed. To get from one to the other you have to walk along the marble borders.</div>
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Parts of Karaca Ahmet have been "confiscated" by the city four times starting in 1917. Roads, apartments and stores have been built over cemetery land, and thus you will find patches of graves hidden behind a <i>tekel</i> or in the middle of a residential neighborhood, disconnected from the main body of dead but still clearly once having belonged to them (which also means scores of apartment blocks are built over the dead) This head stone was isolated behind a crumbing wall at the edge of a line of apartment blocks stretching all the way down to the sea. From the turban, you can tell it most likely belonged to an imam or a religious official. All the graves in this area bear turbans, but this one is unique in that dozens of snails had gathered beneath the brim. Was their some special magic or <i>hikmet</i> to this man? All over Anatolia people flock to the graves of these holy men believing some kind of power still hovers over their graves. The snails were a sign.</div>
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The turban on the tombstone at the front of this photo indicates the man buried beneath was part of the Imperial Council--the Divan-i Humayun. </div>
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At one point, footpaths and debris give way to large brick-lain avenues that cross between "islands" of graves. I followed one down a hill until it was met by another. At one corner of the crossroad was a police box, at the opposite corner a pair of graves in white marble and gold lettering. A large crowd stood in front of these headstones, hands uplifted in prayer. Surreptiously, I crossed in front of them and glanced at the names, Ahmet and Tenzile Erdoğan, the parents of the "President". People were walking backward as they left the area (it is disrespectful to turn your back on someone holy). A bus passed by filled with women and parked just down the hill. They unloaded, about 30 of them, and walked two by two down to the graves of the Erdoğans. Women had to pray from behind a small wall, just out of sight of the men and there the bus passengers gathered, opened their hands and began to recite the Fatiha. I didn't want to get too close. Even when I took this picture, the guards came out of the police box and stared at me, hands on their hips, until I walked away. I doubt anything would have happened but the increasing threats to those who "disrespect" Erdoğan and the degree of worship I saw here led me to err on the side of caution. You can see the graves just to the left in this picture.</div>
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There are many graves of famous people throughout the cemetery, dating back all the way to the conquest. This grave belongs to Yusuf Nabi, "A Great Figure of Turkish Literature, Poet from Urfa" according to the inscription. He was a divan poet whose work often criticized the state and society in general. His pen name "Nabi" comes from the Kurdish "na bi" which means "Let it not be".</div>
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At one point, I took a short cut along the edge of the cemetery where it runs next to the highway. In a patch of weeds I found this flower--which, though you can't tell from the photo, was half the length of my forearm. The blossoms were so large and heavy that most of them hung toward the ground. Only this one managed to sit erect on the vine.</div>
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There is construction along the cemetery borders with the E5 highway. I took a picture of the road through a broken storm drain. It lay on the edge of a construction site that looked like it had dug into a portion of the cemetery grounds. </div>
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Through a crack in the wall, I made my way back down into the cemetery. Here was another patch of Ottoman graves sticking up from the middle of modern ones. Toward the end of the Ottoman period, it seems that pictures started being placed on gravestones. The photo on the second picture belonged to a young naval officer.</div>
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The cemetery is still in use and many famous men and women from the Republican period are buried here. This is the grave of actor Ismail Hakki Dümbüllü. The inscription praises his contributions to the art of theater. He was one of the last represenatives of the traditional Ottoman theater style called Tuluat, a kind of folk theater based on improvisation of well-known stories. You can figure out why they crowned it with a red turban from this film <a href="https://www.youtube.com/watch?v=Wq61ch2lVe8">clip</a>.</div>
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One of the more recent graves is that of Serkan Acar--a defender for the Fenerbahçe football club (soccer) in the 70s. </div>
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Much of the cemetery is now the dominion of cats. Old ladies sometimes set bowls of food among the tombstones. </div>
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I left the cemetery around the Acibadem bus stop where the road emerges and leads to the Nautilus Mall. There, on the edge of the sidewalk was this modern reflection of the ancient Ottoman headstones.</div>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com1tag:blogger.com,1999:blog-7568989191454832962.post-34760128489226817762015-09-05T11:27:00.000+03:002015-09-05T11:30:42.677+03:00NO PICTURES The Boys on the Beach<div dir="ltr" style="text-align: left;" trbidi="on">
(I am not including the pictures on this blog--they're everywhere. I think you can find them if you want to see.)<br />
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<span class="s1">Two pictures of kids on a beach—the dead Syrian Kurdish boy (I can’t look too close, I want to describe the clothes but don’t want to look again. Was his shirt red?) and a picture of my friend’s son on a beach in Shimoda, Japan. </span></div>
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<span class="s1">My friend’s son is about three, maybe, and stands in the sand where the word <i>chisai</i> is written in hiragana. “Small.” He wears blue and yellow swim trunks and red shoes. He’s holding up something to the camera—shells? Rocks? The sand below the word “small” has a bright sheen from a Pacific wave freshly washed back. He has straight black hair. </span></div>
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<span class="s1">So does the other boy. But his shirt is red—I made myself look at the picture again (stomach in knots, face numb now.) Little blue shoes, twisted. He looks like he might be sleeping but for something awkward about his body’s position in the waves, and the waves, the same shiny wet sand as in the other photo, Aegean waves washing back. </span></div>
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<span class="s1">Yesterday while walking through Moda, I saw a boy between his parents. A toddler, staring down at his feet and watching them pick up the mechanics of walking. He looked up at me and grinned like, “See? Do you see?” I told him “Aferin!” and he squealed with laughter. “Look, I’m walking!” his laugh told all of us there on the street. He had straight black hair, too, the same chubby cheeks and squat body of the boys on the beach. The one on the Pacific and the one on the Aegean.</span></div>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com0tag:blogger.com,1999:blog-7568989191454832962.post-63328160539487110782015-08-17T12:14:00.000+03:002015-08-17T12:14:04.046+03:00Defineciler Defolun!!! Get the hell out, plunderers<div dir="ltr" style="text-align: left;" trbidi="on">
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I haven’t had the heart to write anything on this blog for a
while. Before summer vacation even started, I stumbled on a website with
information about the Urartu castle in Yayladere/Xolxol that <a href="http://istanbulgibbs.blogspot.com.tr/2014/09/travels-in-bingol-castle-of-xolxol.html">I blogged about last year</a>. The website was <a href="http://www.definelerim.com/">www.definelerim.com</a>,
“My treasures”, although the word <i>defineler</i> has a lot more nuance than the
English <i>treasure</i>. It would more accurately translate in this case as <i>plunder</i>.<span style="mso-spacerun: yes;"> </span>Basically, someone who hunts<i>
define</i> goes to historic sites, digs up everything looking for gold, and then
sells whatever they find to enrich themselves. The asshole who does this is
called a <i>defineci</i>. <o:p></o:p></div>
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The website above is one of many in Turkey that serve as a
central sharing of information for plunderers. What bothers me is that the
person writing was directing everyone to go plunder whatever was left of the
castle, but because he was on a cell phone, he couldn’t send any photos or
information. So instead he directed his fellow tomb raiders to my blog for
guidance. My blog, written in hopes of some sort of amateurish widening of
knowledge about a little known piece of the world, would be what helped them further
plunder and rape what was left of that very place.<o:p></o:p></div>
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Well fuck you, <i>define </i>hunters. </div>
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And what’s worse, this guy
claims to be a local.<o:p></o:p></div>
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A slightly bigger internet investigation revealed a whole
slew of these tomb raider websites. There’s <a href="http://www.defineciler.com/">www.defineciler.com</a>,<span style="mso-spacerun: yes;"> </span><a href="http://www.definesohbeti.com/">www.definesohbeti.com</a>,
and <a href="http://www.defineharitasi.com/">www.defineharitasi.com</a> for
instance.<span style="mso-spacerun: yes;"> </span>While they don’t seem all that
picky about which places they rob, there is a clear focus, of course, on old
Armenian sites due to the widely held belief that the people marching to their
deaths were all obscenely rich and ran around burying boxes of gold before
being shot and bayoneted by the gendarme. <o:p></o:p></div>
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For example, on this page <a href="http://www.definesohbeti.com/archive/index.php/t-128.html">http://www.definesohbeti.com/archive/index.php/t-128.html</a>,
we get a partial list of all the Armenian villages and churches in Eastern
Turkey as targets for plunder.<o:p></o:p></div>
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To make matters worse, we went to visit Conag for about a
week and a half this summer and in that time, took a trip to the waterfalls and
ruins of Pargasor, which <a href="http://istanbulgibbs.blogspot.com.tr/search/label/Pargasor">I also wrote about last year.</a> Lo and behold the entire
site had been dug up. They had clearly brought in big machinery to do it, too.
One of the chambers was completely ruined. Whoever was responsible wrote on all
the rock walls “Attention! Mines have been laid!” Given the current atmosphere,
it’s certainly possible, but more likely a ruse to dissuade other <i>defineciler</i>. Had they
found this place because of my blog too? And of course, this site is located
between two freshly built military bases. Did the soldiers do it? The locals? A
group made up of both, finding common cause at last in blind greed?<o:p></o:p></div>
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Here is the <a href="http://www.definelerim.com/devasa-bir-tas-uzerinde-kale-t8994.html">webpage with the link to my blog.</a> If you’d like,
spam this creep. Or hunt him down and rob his house. <o:p></o:p></div>
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<br /></div>
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In any case, I don't feel all that confident in the morality of writing these days. You do something for what you think is a noble reason and it's turned to rotten and foul purposes. Maybe the best solution is just to shut up.</div>
</div>
Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com2tag:blogger.com,1999:blog-7568989191454832962.post-66025152277844486492015-05-25T20:37:00.000+03:002015-05-25T20:37:03.899+03:00Dance Lessons--How to Dance the Govend, part 2<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="TR">Sorry for the long delay--it was a busy Spring.</span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEighjOz3k0oN4g0G38k5E8Gk2bpvELEoSX8sXoIfYMGnhTmWAvBZxc_EIGZdYA9tUfr8Do3V2ooL6yq1-EcyAehk137gJHAuA6lT0mZmzzFMoWaKaJcfpjZiv6Rtg8kXBG2eIVEFMezTzM/s1600/istanbullast+028.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEighjOz3k0oN4g0G38k5E8Gk2bpvELEoSX8sXoIfYMGnhTmWAvBZxc_EIGZdYA9tUfr8Do3V2ooL6yq1-EcyAehk137gJHAuA6lT0mZmzzFMoWaKaJcfpjZiv6Rtg8kXBG2eIVEFMezTzM/s1600/istanbullast+028.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The govend at our wedding</td></tr>
</tbody></table>
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<span lang="TR"><br /></span></div>
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<span lang="TR">So let's begin with another dance essential to know, the <i style="mso-bidi-font-style: normal;">ş</i></span><i style="mso-bidi-font-style: normal;"><span lang="EN" style="color: #333333; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: TR;">emamê</span></i><span lang="TR">.
This is a relatively new dance cooked up by youngsters and based on an older
traditional dance. Here’s how our teacher Sedat explains it.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
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<span lang="TR">“The ‘<i style="mso-bidi-font-style: normal;">ş</i></span><i style="mso-bidi-font-style: normal;"><span lang="EN" style="color: #333333; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: TR;">emamê</span></i><span lang="EN" style="color: #333333; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: TR;">’ comes from the ‘<i style="mso-bidi-font-style: normal;">şêxanî</i>’
govend. Over time, the rhythms of popular music, in particular hip hop and
disco, were added to the <i style="mso-bidi-font-style: normal;">şêxanî</i> as its
rhythms were particular amenable to this. In Van this dance is called the </span><span lang="EN"><span style="mso-spacerun: yes;"> </span></span><span lang="TR">‘</span><i style="mso-bidi-font-style: normal;"><span lang="EN" style="color: #333333; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: TR;">hêjirokê</span></i><span lang="EN" style="color: #333333; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: TR;">’, but the song is different. There is a general
terminology problem with these dances—each one is named according to the song
they are danced to it seems, instead of according to the steps, so that the
same dance can have several different names just because one region chooses a
different song to perform them too.”</span><span lang="EN"> </span><span lang="TR"><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN" style="color: #333333; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: TR;"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">The handwork in the <i style="mso-bidi-font-style: normal;">ş</i></span><i style="mso-bidi-font-style: normal;"><span lang="EN" style="color: #333333; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: TR;">emamê</span></i><span lang="EN"> </span><span lang="TR">is
tricky—your feet are doing one thing and your hands another and the
synchronization is a bitch to master and make look natural. The fancier
versions of the <i style="mso-bidi-font-style: normal;">ş</i></span><i style="mso-bidi-font-style: normal;"><span lang="EN" style="color: #333333; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: TR;">emamê</span></i><span lang="TR"> involve all sorts of little half-steps and change-steps and tricks
with the feet and legs. And everyone comes up with new variations all the time
that you kind of half to catch whenever you join a dance with people you don’t
know. The dance also is unique because it starts on the left foot while most
govends start on the right.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">Here’s <a href="http://www.youtube.com/watch?v=yEVElw7jmBQ">the <i style="mso-bidi-font-style: normal;">ş</i></a></span><i style="mso-bidi-font-style: normal;"><span lang="EN" style="color: #333333; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: TR;"><a href="http://www.youtube.com/watch?v=yEVElw7jmBQ">emamê</a></span></i><span lang="TR">. Watch the boys on the left, at the head of the line. </span></div>
<div class="MsoNormal">
<span class="MsoHyperlink"><span lang="TR" style="color: windowtext; text-decoration: none; text-underline: none;"><a href="https://www.youtube.com/watch?v=9WjRkxaXXdw&list=RD9WjRkxaXXdw">Learn it here</a>, in Turkish, but she shows you step by step so it's easy if you don't speak the language.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="TR">And here’s the </span><i style="mso-bidi-font-style: normal;"><span lang="EN" style="color: #333333; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: TR;"><a href="https://www.youtube.com/watch?v=1ytKeI_IeUk">şêxanî</a></span></i><span lang="TR">
from which it sprung.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="TR">Now let’s get naughty. Close the curtains,
switch off the phone taps. You just cannot ignore the existence of what’s
casually known as the “guerilla halay”—you’ll see some of the kids at rallies
dancing this one. Let me again refer to Sedat Hoca to explain this one.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt;">
<span lang="EN" style="color: #333333; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: TR;">The
guerilla halay (or <i style="mso-bidi-font-style: normal;">govenda şoreşgeran </i>as
I think it should be more properly known) is actually a slower version of the
steps of the govend. Since mostly guerillas danced this govend or, since people
saw guerillas while they were dancing this govend, it was referred to with a
sentence like ‘the dance that <i style="mso-bidi-font-style: normal;">they</i>
do’ or the ‘the dance the guerilla’s perform’ and eventually was shortened to
‘guerilla halay.’ In other words, under the most basic of circumstances, it’s
just called the govend, but due to different factors and in different regions
more ‘interesting’ names might be used. Typically it just takes the name of the
song it’s danced to. We danced it to the song ‘Keleşo’ so some would call it
‘keleşo.’<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR">Supposedly, once the public starts doing the
dance that the guerillas do and starts copying them, the guerillas quickly drop
it and invent a new one to be the next ‘guerilla halay.’ The one we learned has
been public for a while now and the steps are symbolic. It starts off slow with
simple bounce-steps but eventually builds into huge leaps. You take two double
hops forward symbolizing an advance. Then with your left foot you come forward
and down hard, then move back two double steps. The <i style="background-color: white; color: #333333; font-family: 'Times New Roman'; font-size: 16px;">govenda şoreşgeran</i> can be done
with music but is more often done without, the dancers singing one song or
another. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">We learned to a ditty called <u><a href="https://www.youtube.com/watch?v=7N7cP3tI-1g">Keleşo</a></u>. Just
before Delal’s Dad was released, as we waited in front of the prison gates, a
group of young boys built a bonfire and started dancing the guerilla halay to
Keleşo around the flames. They were then quickly shown up by two young girls
from Hakkari who busted into moves so quick and furious, no one else could
follow. They couldn’t have been more than twelve but they knew how to cut a
rug. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">I’ll introduce just one last dance—although
there are lots more. It’s called the <i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">çepkî</span></i><b> </b><span style="mso-bidi-font-weight: bold;">which means ‘lefty’—a name it sports because the
line moves left instead of the usual right. It has a three step count starting
with the left foot—on the second step you kind of crick your knee and then hop
back on the fourth step as your right foot goes out. You repeat this three
times, then do two side steps to the right before you launch into another hop.
The hand work on this is tricky, too—completely different than what the feet
are doing—circles, forward thrusts, back swings to various counts of one, two
and three. You can also kick instead of step in a kind of Riverdance version. </span>Here’s
a video of what a really <a href="http://www.youtube.com/watch?v=OtWRKeW6_Jw">young and wild (and possibly drunk) çepkî</a> might look like.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<a href="https://www.youtube.com/watch?v=-R7iGP8LoNg">This video shows you the steps</a>—though the
dancers are not very animated.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="TR">These are just a few of the dances we learned.
There are several other rather slow and dignified ones that resemble something
out of the Aegean region. Sedat Hoca feels there is a basic problem with the
nomenclature and has devised an alternative classification system based on the
speed of the dance and the speed of the music. The slow dances are called <i style="mso-bidi-font-style: normal;">gran<span style="mso-bidi-font-weight: bold;">î
</span></i><span style="mso-bidi-font-weight: bold;">(which means heavy in
Kurdish). Each category after that grows greater in speed. Normally, you’ll see
each dance classified according to region but then that leads to someone from
Hakkari insisting that such and such is her dance while someone from Dersim,
dancing the exact same steps, will call it by a different name, and argue that
it is a Dersim tradition. Why not, Sedat says, classify them all more
systematically according to speed and form? <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="TR"><span style="mso-bidi-font-weight: bold;"><br /></span></span></div>
<div class="MsoNormal">
<span lang="TR" style="mso-bidi-font-weight: bold;">Sedat, a
professional dancer with the Kardeş Türkler who also performed in the über
professional Anatolian Fire, sees the <i style="mso-bidi-font-style: normal;">govend</i>
as a very political thing. His is the first class of its kind—in America or in
Japan, there’d be hundreds of these dance classes all across the country. I
think of the Cambridge Dance Complex in Boston or the Middle East dance studios
all over Tokyo and Osaka. And though I have seen ‘Folk Dance’ courses here and
there, nothing focuses on the dances of the Southeast. </span></div>
<div class="MsoNormal">
<span lang="TR" style="mso-bidi-font-weight: bold;"><br /></span></div>
<div class="MsoNormal">
<span lang="TR" style="mso-bidi-font-weight: bold;">Apparently, he met a lot
of resistance when he decided to start a course—his friends in the dance world
resented the idea of a “Kurdish” dance class. They gave the usual
arguments—these dances belong to everyone. How can you classify them as
“Kurdish”? Of course no one gets their panties in a tangle when someone calls
the horon a Black Sea dance or the Zeybek an Aegean dance. In my opinion, hell
yeah these dances belong to everyone. I can take a ‘Black Sea’ dance course and
not cry about how the name ‘Black Sea’ makes me feel uncomfortable. Why should
the name ‘Kurdish’ be a problem? <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR" style="mso-bidi-font-weight: bold;">Ah, well, we
all know why. Call anything ‘Kurdish’ and it’s like you’re declaring war here—a
mindset reinforced by the media and years in an education system created by a
fascist military coup. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR" style="mso-bidi-font-weight: bold;"><br /></span></div>
<div class="MsoNormal">
<span lang="TR" style="mso-bidi-font-weight: bold;">Sedat is
definitely a nationalist young man. In his view, the assimilation policies of
the last one hundred years have affected folk dance as well. Kurdish folk
dances not recognized by the Turks were ignored, many lost, while dances
similar to Turkish ones but with some different steps or flourishes were assimilated
to get rid of the differences and make the dance exclusively Turkish. The same
with songs. A lot of the Kurdish songs have been translated into Turkish and
the Kurdish versions lost or forgotten.</span><span lang="TR"><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR">Recently, Delal has been watching ‘Eyes on the
Prize’ in preparation for our trip to Alabama. She couldn’t help but notice
that as the young protesters were attacked with fire hoses or dragged off to
prison or attacked by dogs they always responded with songs. Black people faced
their aggressors with music. One man in Arkansas actually danced in the water
of the firehouse. Music as defiance, as an integral part of a people and their
struggle for justice. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
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<span lang="TR">‘That’s us, too,’ Delal says. ‘No matter what
is happening, we are going to find a way to do the govend. We did it at Gezi.
We did it at the hunger strike protests. Everywhere for every reason, the
govend.’<o:p></o:p></span></div>
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<span lang="TR"><br /></span></div>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com2tag:blogger.com,1999:blog-7568989191454832962.post-35365603283537650352015-04-20T22:11:00.004+03:002015-04-20T22:11:37.793+03:00DANCE LESSONS--HOW TO DANCE THE GOVEND: PART 1 DELİLO, DUZ, GOVEND<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="TR">“Her-reeeeeee!!!!”<o:p></o:p></span></i></div>
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<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">At the height of excitment, when the music is so
frenetic you need quantum equations to describe all the things your feet are
doing, you shout this word if you’re a man. It means simply ‘Go!’ in Kurmanci. The
last syllable only fails when your breath does. <o:p></o:p></span></div>
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<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">(If you’re a woman, you let loose with an
ululation that shatters glass.)<o:p></o:p></span></div>
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<span lang="TR"><br /></span></div>
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<span lang="TR">I am talking about the dance called ‘govend’—a
dance as vital to a Kurd’s identity as their language. For Kurds, in my
experience, dance at every opportunity—at festivals and protests, at home and
on the way home, in sickness and in health. Wherever music is played—and it’s
played everywhere—someone’s going to leap up, grab a few others and break into
a govend. <o:p></o:p></span><br />
<span lang="TR"><br /></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdhLG3IaXjse4r_57izNyWotpnQiY74BTDs3dGia9MgLSMk4N6qP_dlxUzh9AuTWExOwaw7PAbKEQqALzaWuf1L3bwLYCIBu0UTdEW9Rs94QhRZTqc8xfAZowamS5R-7JmzevzYWkMKBA/s1600/IMG_7276.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdhLG3IaXjse4r_57izNyWotpnQiY74BTDs3dGia9MgLSMk4N6qP_dlxUzh9AuTWExOwaw7PAbKEQqALzaWuf1L3bwLYCIBu0UTdEW9Rs94QhRZTqc8xfAZowamS5R-7JmzevzYWkMKBA/s1600/IMG_7276.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A govend in Ovacık, Dersim</td></tr>
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<span lang="TR"><br /></span></div>
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<span lang="TR">I used to run into it everywhere I went with
Delal and though I managed to learn the basic steps of the slower dances, it
knew it was imperative for me to take a course to catch up with what years
being in the middle of her own culture had taught my wife. I was not going to
be on the sidelines forever. But no course was forthcoming it seemed—none that
focused on the Kurdish dances of the Southeast at least. And then we saw the
poster in a cafe in Kadıköy—<i style="mso-bidi-font-style: normal;">Kursa Govend</i>—offered
at one of the culture centers that have popped up since the Gezi protests in
2013. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">I have a “liberal” Turkish friend at
school—let’s call her Aleyna. Aleyna’s a middle-aged woman who seems more up to
speed than most on the issues of minorites in her country. And so when I
excitedly told her over lunch one day that I had started taking a course in the
‘halay’, the Turkish word for <i style="mso-bidi-font-style: normal;">govend</i>,
I was surprised to hear her laugh. ‘What in the world is there to learn? You
should take Salsa or Tango or something.’ <i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
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<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">I had assumed, drawing from my experience
among my inlaws, that absolutely everyone in this country were fanatical
dancers of the halay. But I found out rather quickly that most Western Turks at
least, look at it as, say, a Boston Harvard grad would look at mudslinging in a
pick-up truck (which is fun by the way). I was more surprised by the reaction
of my school’s service bus driver, Mehmet. Mehmet is a young Kurdish man from Kiğı,
the same region as my wife, a place where people wake and sleep dancing the <i style="mso-bidi-font-style: normal;">govend</i>. <span style="mso-spacerun: yes;"> </span>When I told him I was taking a class in
Kurdish folk dance, he furrowed his brow and said, “What in the world is there
to learn from <i style="mso-bidi-font-style: normal;">our</i> dance? You should
learn the Black Sea horon or something like that.” <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">Well Mehmet. This blog is for you. There’s a
lot to learn from Kurdish dance, the first thing of which is politics. Your
answer alone, in a nut shell, demonstrates the effects of a hundred years of
assimilation if you ask me. If it belongs to us, you’re saying, it must suck.
Try something Turkish—that’s real culture.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR">Enough politics.<o:p></o:p></span></div>
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<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">The basic concept of the <i style="mso-bidi-font-style: normal;">govend</i> is this—at weddings, protests, and pretty much anywhere two
or more people gather, folks join hands in a line as someone plays a rhythm on
the davul (drum) and a zurna, an oboe-like wind instrument. A radio or iPhone
will do if davul and zurna are not handy. Everyone performs the same steps
which vary in complication and generally get faster and faster until all but
the best dancers drop out. The first in line is called the “head” and is the
leader. He or she commands what steps are done at what speed and when. The head
flourishes a handkerchief which is bright colored—among Kurds it tends to be
red or yellow. Sedat, the young teacher of our course, said that the
handkerchief was a symbol of a piece of flame taken from the fire people used
to dance around. The Kurds, eons ago, were Zoroasterian (possibly) and many of
your more nationalist Kurds seem to want to reclaim that heritage. And indeed
there seem to be a lot of Zoroasterian remnants in many areas of Kurdistan—prayers
to the rising sun and moon in Kiğı, for instance, also a reverance for fire.
Anyway, the head waves and brandishes the handkerchief just as the flame itself
would flicker from the embers. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2RTnmtDCShOv2r_zE8xrUyQFBuJZZBMbcCqLvupB94M4Jxz2jeWKOVlfqzD-upWb_NVdyUiHwd9SxNAwRzRoGprt6uVEJ-92eM1zH_lkeAfRxL-NDE8DGCHV4lUyXOCeVP04oRZ3TYoI/s1600/IMG_8060.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2RTnmtDCShOv2r_zE8xrUyQFBuJZZBMbcCqLvupB94M4Jxz2jeWKOVlfqzD-upWb_NVdyUiHwd9SxNAwRzRoGprt6uVEJ-92eM1zH_lkeAfRxL-NDE8DGCHV4lUyXOCeVP04oRZ3TYoI/s1600/IMG_8060.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A govend at a village wedding in Xiwek, Kiğı</td></tr>
</tbody></table>
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">For my people in the American South, maybe it
would be easiest to say the <i style="mso-bidi-font-style: normal;">govend</i> is
essentially an ancient line dance of great variation and I have seen people
from all over the Middle East, Eastern Europe, and Western Asian doing some
version of it—Armenians, Arabs, Israelis, Greeks, Turks, Turkmen and Kurds. In
Kurdish, the word for this dance is ‘govend.’ And Sedat insisted that we call
it the ‘govend’, for the dances he taught are specific to Kurdistan (he says)
and so it’s going to be ‘the govend’ from here on in. And if you are
non-Kurdish and want to argue over who owns the copyright to this dance, all I
have to say is, ever ask a Southerner who makes the best barbecue? To the
outsider Kansas City and North Carolina might all be meat with sauce on it, but
child please.<o:p></o:p></span></div>
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<span lang="TR">If any of you have any doubts as to how hard
this dance can be, I just want to give you a bit of a video introduction.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">Here’s a video of the <i style="mso-bidi-font-style: normal;"><a href="http://www.youtube.com/watch?v=LiBVnI9841w">şewko</a></i>—go on, y’all. Grab a friend and give it a whirl.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="TR">And here’s another type of <i style="mso-bidi-font-style: normal;">g<a href="http://www.youtube.com/watch?v=gw-jxq5uzsU">ovend</a></i><a href="http://www.youtube.com/watch?v=gw-jxq5uzsU"> from Iğdir</a>—these girls are doing
the most basic of all versions. Think you can spin quickly from the <i style="mso-bidi-font-style: normal;">şewko</i> into this?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="TR">That basic dance step in the video of the
Iğdir girls is the <a href="http://ku.wikipedia.org/wiki/S%C3%AAling" title="Sêling"><i style="mso-bidi-font-style: normal;"><span style="color: windowtext; text-decoration: none; text-underline: none;">Delîlo</span></i><span style="color: windowtext; text-decoration: none; text-underline: none;"> (</span></a><i style="mso-bidi-font-style: normal;">Üç Ayak</i> in Turkish which means ‘Three
Legs’ though I couldn’t begin to tell you why, as it’s done on a count of four
with two legs.) According to our teacher, the word <i style="mso-bidi-font-style: normal;">Delîlo</i> has no special meaning but is made up of three exclamations
heard in Kurdish dance and song—‘De!’ ‘Lê!’ ‘Lo!’<span style="mso-spacerun: yes;"> </span>The best translation might be ‘Oh Hey! Hey!’.
It’s the easiest of all the dances and I’ve known the basic moves since the
first few weeks I met Delal. You can learn the footwork in a second (though the
finer subtleties are lost on most people) and it’s the one that laymen usually
think of when you say the word ‘halay’, which is probably why so many people
think the class I am taking must be so laughably easy. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">Essentially, you link hands, often hooking
pinkies, and take four steps forward then four steps back and to the right, all
in synch with everyone else. That’s it. But one essential trick that I learned
while doing this basic step and that I had not known previously is—you’ve got
to bounce. Your legs should never be straight. Your body keeps the time by
spring-bouncing to an 8 count rhythm as you move through the main steps, so
that while your feet are going “1, 2, 3, 4” your knees are going “1 and 2 and 3
and 4 and”. Learning this bounce makes all the more complicated dances a lot
easier later on and ensures that your shoulders and hands bounce as well, an
essential component to the flair of any good govend dancer. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">The <i style="mso-bidi-font-style: normal;">Delîlo</i>
is a good primer on why the govend is actually quite difficult—the synchronization
among a large group is hard. The difference in rhythms between the body and
feet is hard. Okay, in the <i style="mso-bidi-font-style: normal;">Delîlo</i>
your feet are moving to a count of four while your body is moving to a count of
eight—that’s rather easy, but later on feet can be going to a count of four
while the music is to a count of six or the music is a count of eight while
your feet move to a count of 6, or feet to a count of pi (3.1415...) while the
music is to a count of e (2.71828...). And then, of course, the coordination of
hand movements and feet movements can get tricky—like the old pat your head and
rub your stomach routine.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR"><a href="http://www.youtube.com/watch?v=WcuG_nG2osk">Here is a rather dorky video</a> that explains the
footwork in zombie like monotone but still, it gives you an idea (Try to
imitate the Iğdir girls!). Notice how the woman bounces—critical, and yet the
instructor in the video does not mention it at all. We spent a good half hour
learning just to bounce to the rhythm in our class. It was a blast and
tremendously crucial to getting anything right later on.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="TR">There are tons of variations on the <i style="mso-bidi-font-style: normal;">Delîlo</i>. We learned a few easy ones. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ8JKLibhGVS1zRJZJ7z3c3KEIKZyuWmLqP1qRW6WufH8zGBF3ext81VpFT8R-jA2xGgGTWfOo7gPcYhsO9wG2wIf2WAfR006mwcVfKHaLENHWteW46oBYaU7MJ9mlbGzX0RT01uht7Wg/s1600/IMG_2566.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ8JKLibhGVS1zRJZJ7z3c3KEIKZyuWmLqP1qRW6WufH8zGBF3ext81VpFT8R-jA2xGgGTWfOo7gPcYhsO9wG2wIf2WAfR006mwcVfKHaLENHWteW46oBYaU7MJ9mlbGzX0RT01uht7Wg/s1600/IMG_2566.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Govend at a Germik (Hot Springs) in Bağin, Karakoçan</td></tr>
</tbody></table>
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_iplGg97YR58jisgDiwS0xYddY2GnGXJ37rZVsw7GcNPkjZZP8jAphBe9UDcwmKBlEorgWt2blIr1ZxGxkhlN4FsRRB6U-fm7PzSBIwIUsvDb94W7ZMugCH19tHIE-pq5U1d1xSCcbY8/s1600/IMG_2568.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_iplGg97YR58jisgDiwS0xYddY2GnGXJ37rZVsw7GcNPkjZZP8jAphBe9UDcwmKBlEorgWt2blIr1ZxGxkhlN4FsRRB6U-fm7PzSBIwIUsvDb94W7ZMugCH19tHIE-pq5U1d1xSCcbY8/s1600/IMG_2568.JPG" /></a></div>
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">You can turn the four step figure, for
example, into a two step where the missing steps are converted into a scooping
motion with the knees, or else instead of stepping forward you can flip your
knee back or else you can kick out as you step backward as if your foot were a
spatula flipping a burger. When you launch into each set of four you can skim
your foot across the floor instead of stepping fully or you can skip your right
foot across the left knee to give it a bit of a flourish. You usually do all of
this as a group and so the head has to give a signal of some sort and all must
follow. What’s fun, if you’re the head, is that you can break off and kind of
do your own thing as the others keep going—one basic step when you do this is
to walk just moving your heels. In other words, when you step, your toes stay
on the ground and your heels flip up. You can combine this with the skipping
motion mentioned early, or the flourish at the knees, or all at once to create
a really complicated movement. If you’re young and flexible, you might squat
down Cossack style and kick out. Like I said, tons of variations on the basic <i style="mso-bidi-font-style: normal;">Delîlo</i>.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">The next dance we learned was called the <i style="mso-bidi-font-style: normal;">Dûzo, Dizo</i> or just <i style="mso-bidi-font-style: normal;">Dûz</i>. It’s based on a three step—in other words you bounce your
knees to the count of three. Your right foot moves right on the count of
one—that’s the easy part. But what about the left? It follows the right on a
half or quarter count at the end—which is an easy sentence to write but very
difficult to make your foot do with any kind of regularity. The best thing is
to surrender to the rhythm and pray, but God doesn’t always answer prayers and
it took my class hours to consistently find that rhythm—some of us still don’t have
a clue. The music we first practiced with was by an Iranian Kurdish group
called Sima Bina and this song named Sheftaluforush—the Peach Seller. We also
used the song <a href="http://www.youtube.com/watch?v=HcSaUnJsqsc">Celil Ber Çela. </a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="TR">Here are some people running through the <a href="https://www.youtube.com/watch?v=t8gUE9aiQts">basicthree-count Dûz</a> with variations as the video goes on. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="TR">As with the <i style="mso-bidi-font-style: normal;">Delîlo</i>, this basic step of course has tons of variations. Just
simply stepping forward and backward with the right foot is a good start. You
can also break off and do the heel tap that I mentioned in the <i style="mso-bidi-font-style: normal;">Delîlo</i>. The davul beat can eventually
speed up and then you break into the dance that our teacher called the
‘essential <i style="mso-bidi-font-style: normal;">govend</i>’, and which in Turkish
is called ‘<i style="mso-bidi-font-style: normal;">Dik Halay</i>’ or, roughly
translated, ‘Straight-Up Halay.’<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">This “essential <i style="mso-bidi-font-style: normal;">govend</i>” was the whole point of me joining this class. The <i style="mso-bidi-font-style: normal;">Delîlo</i> was a walk in the park. Every
visit to the village or every wedding that I was commandeered into, I could manage
that one and retain some dignity, but then the music would speed up and
suddenly people’s knees and bodies were doing something I couldn’t decipher and
so I would have to bow out and sit on the sidelines like a dork while everyone
else zipped through the rhythms, having an ecstatic blast. It looked simple but
every time I jumped in the fray, nothing worked. Delal had tried to teach me a
hundred times but to no avail. Well, now I’ve got it now, kids—but I doubt I
can explain it in words. It’s a body thing—you’ve got to get used to the
unusual rhythms and then just groove. It certainly ain’t the Salsa.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">Here’s how it goes. You do the basic three
step of the <i style="mso-bidi-font-style: normal;">Dûz</i>, then you do a four
count to finish, bouncing twice on the right knee and twice on the left. Count-wise—it’s
a quick stacatto <i style="mso-bidi-font-style: normal;">one-two-three</i>
followed by a lackadaisacally slow, <i style="mso-bidi-font-style: normal;">one
two three four</i>. The trick is the first three steps are blurred together
into a count of two—something I never picked up from mere observation. What the
hell? Exactly. Let me break it down for the math impaired. If you are doing
this count--one, two, three, four, five, six—you will move three steps between
one and two and then normally for the other numbers. When you are going really
fast your feet don’t move at all. Just your legs and knees go through the
rhythm—a phenomenon which can be utterly baffling. People’s bodies are dancing
wildly but their feet never leave the ground. I used to think they were just
gyrating randomly but since everyone was absolutely in synch, my hypothesis was
never convincing. Now, at long last, I know that the knees were doing the dance
that the feet could not keep up with. <a href="https://www.youtube.com/watch?v=k7929Tl5sG0&feature=youtu.be">Here is the footwork up clos</a>e (video taken at a festival in Hasköy's hot springs)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span>
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR">And there are variations. The head dancer can
give a signal and off you go—we learned a variety of kicks and skips that
tangles up my legs as soon as I think about it. In one version, you kick your
left toe with your right heel, skim the floor and then do a heel tap before
skipping forward with your left foot—all to that bizarre three in two rhythm.
In another the initial heel tap takes place at the knee. Or else, it turns into
a triple tap on the floor in front of you.<o:p></o:p></span><br />
<span lang="TR"><br /></span>
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
<span lang="TR"><br /></span></div>
<div class="MsoNormal">
Here is a video that kind of <a href="http://www.youtube.com/watch?v=Hhbix26tzVA">shows theessential govend</a>. Give the people
time to wind up into it (around 40 seconds). I recommend watching from 4:44 to
about 6:10--take a look at what happens when the head breaks away. <span style="mso-spacerun: yes;"> </span></div>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com0tag:blogger.com,1999:blog-7568989191454832962.post-81033662688485826482015-04-06T19:56:00.001+03:002015-04-06T19:57:12.313+03:00New Spring, New Day, Newroz and Easter<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Newroz Eggs/Easter Eggs</td></tr>
</tbody></table>
It's been a long time since I've posted anything, so this is going to be short--just to get my feet wet again. Yesterday, Delal and colored eggs for Easter, or Paskalya as they say in Turkish. It's one of my favourite times of year here--all the bakeries in Kadıköy carry challah bread, a braided Armenian sweetbread with brightly painted eggs in the middle. And of course, the apple blossoms and cherry blossoms are in full swing, the world famous tulips are starting to pop out of the ground, and the sycamores all have incandescent green buds on them.<br />
<br />
And as usual, Delal's granddad pops out with a piece of surprise information.<br />
<br />
"When I was a boy," Dede says, "We used to dye eggs for Newroz in the village."<br />
<br />
Newroz is the Iranian New Year, celebrated by Kurds in Turkey on March 21st, the equinox. In fact, just last week we had gone to what must have been Istanbul's biggest Newroz festival yet in Kazlıçeşme--easily over 200,000 people in my modest opinion. Newroz has become a sort of national holiday for Kurds--and in recent years is the day for important political announcements. This year, the PKK leader Ocalan wrote a letter to be read out at Newroz celebrations, calling for an end to the armed struggle--a historic step in the ongoing peace process between Kurds and the Turkish government.<br />
<br />
The traditions don't include bunnies or baskets. Though there are a few superficial similarities. In my family, we used to buy new clothes for Easter Sunday, usually all bright coloured pastels I never ever wore again. On Newroz, Kurdish women dress up in brightly colored bangled dresses called <i>fistan--</i>red, green, and yellow are the colours of choice, but you'll see orange and purple and turquoise<i>. </i> Men, on the other hand, will wear black of khaki<i> şal u şapik --</i>a traditional outfit <a href="http://www.diclehaber.com/en/news/content/view/451228?from=314584322">recently banned</a> by Turkey's so-called "security package."<br />
<br />
Other things: people build huge bonfires and jump them for luck, and everyone dances the <i>govend</i> (Turkish: Halay) until their legs snap off.<br />
<br />
So how were Dede and friends colouring eggs for Newroz back in the early 1930s? We can only guess that it came from centuries of living in close proximity with Armenians. I found a book published by Ragip Zarakolu's publishing house, Belge. It's called Kedername (Document of Grief) and is a compilation of testimony on the Genocide compiled by Armenia's State Archives. In it was a rather telling description of the Kiğı region with harrowing and heartrending descriptions of the emptying out and murder of Armenians in all the villages near Conag--including Xiwek, Akrag, Hasköy and the town of Xolxol (Yayledere). Of Conag, there isn't much. One witness, a church official from Kiğı and the godfather (kirve) to the head of "the Kurdish village" says that on the road that leads to Conag from Xolxol, you can see a grave stone belonging to Prince Beşar.<br />
<br />
"And in fact his descendants still dwell in the area. The ruins of an Armenian church sit in a pile of stones in the fields of Suleyman Beşaroğlu. I observed an interesting ceremony at his house. He had told me about the local saint that protected them and I asked if I could watch the ceremony they held for him, for he was reportedly a very powerful saint. I watched as he drew one by one books wrapped in white cloth from a large trunk. As he unwrapped them, I saw pages from the Bible, richly decorated and written in Armenian and Greek. The village headman couldn't read what was written there but just knew that the words held power."<br />
<br />
Anyone who has kept up with my blog knows that there is still a pile of stones from an Armenian church that the villagers treat as holy and possessed of healing powers. Could this be the same stones? Dede doesn't remember anyone named Beşaroğlu (this would have been the late 1800s) and none of the books we have on the area mention anyone bearing that last name or anything resembling it. But it's intriguing--especially since the road from Xolxol to Conag could pass by the village of Hasköy which still has an Armenian cemetery and might explain the grave.<br />
<br />
As we discover more and more anecdotal connections with the disappeared Armenians, Turkey brings to bear all its powers to deny the Genocide on the 100th anniversary. The government has scheduled an international commemoration of the Battle of Gallipoli on April 24th, the day also commemorated as the start of the Genocide. Not surprisingly, most foreign dignitaries have declined the invitation. Turkey's pro-government newspapers claim that foreign officials have received threats from ASALA, an Armenian radical group--the only possible explanation in their minds for the refusal to show up.<br />
<br />
And as for Newroz, the ruling party seems determined to roll back all progress made on that day as well, refusing to grant permission for a mediator for the Kurdish Peace process among other things. (Other things including a new ban on all social media and a draconian security bill that makes it legal to shoot protesters wearing a scarf over their faces, which you might if you expect to be attacked by thousands of canisters of tear gas.)<br />
<br />
In any case, it felt right to colour eggs--somehow a celebration of both my childhood traditions and the traditions of Delal's granddad. There in lay some sort of symbol of who we were--it's hard to explain. Both American and Kurdish, respectful of tradition but forward looking. Together. United. Happy Easter, D. Newroz Piroz Be!<br />
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com0tag:blogger.com,1999:blog-7568989191454832962.post-62892731557235214752015-02-10T20:29:00.000+02:002015-02-11T10:58:54.750+02:00GACHO!!!! Kurdish Baseball/Kurdish Cricket<div dir="ltr" style="text-align: left;" trbidi="on">
Gacho (Gaço)<br />
<br />
<div class="MsoNormal">
It’s a cold February winter night. Outside is about an inch
of slush and snow, with more falling. We have Dede (Delal’s grandfather) over a
visit and he is explaining some of the summer games they used to play in the
village—Conag, once connected to Kiğı (Keghi in Armenian). One game really grabs my
attention—it’s called gacho (gaço) and bears a striking
similarity to baseball, actually moreso to cricket.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There are two bases opposite one another, one for each team.
You need a level and large enough field to play. Sometimes they would play in
the meadow while tending the flocks, Dede says. Both men and women could play.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Four people stand at each base. This number on the team isn’t fixed, but depends on who all wants to play. One person on the batter's team throws the ball
to the batter. The bat is specially made for the game. The hitter gets three chances to hit the ball (like three strikes). There is something
called a <i>nişantaşı</i> (target stone) at an equal distance from both bases. If you
hit the ball, you run to the target stone. You can be tagged out if someone
hits you with the ball or catches your hit in the air. The fielding team's job is to retrieve the ball and hit you with it. If your ball is still in
play when you get to the target stone, you run back to your base for a point.
If the ball has been caught but you aren’t out, you stay at the target stone
and let another player up to bat. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-rIjxQcuPD2TadweiFGTdYN7noreyz1SMUoZf1mNw5c5Z5jA0BxgVm-qmS2nz4aDOPAI78fRkbvvUDn6XNdVI1UImPbk-66hsiSOoiAozMcVYuDBfXtWw4C4ANbbPsjcpRDHpZTIaXGE/s1600/Photo+on+10-02-15+at+20.23.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-rIjxQcuPD2TadweiFGTdYN7noreyz1SMUoZf1mNw5c5Z5jA0BxgVm-qmS2nz4aDOPAI78fRkbvvUDn6XNdVI1UImPbk-66hsiSOoiAozMcVYuDBfXtWw4C4ANbbPsjcpRDHpZTIaXGE/s1600/Photo+on+10-02-15+at+20.23.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The "field" as drawn by Dede</td></tr>
</tbody></table>
<div class="MsoNormal">
<o:p><br /></o:p></div>
<div class="MsoNormal">
You want to hit the ball far, Dede emphasizes. But the
amateur show offs always make the mistake of hitting it far and up. If you hit
it straight up in the air, the fielders on the other team can easily catch it
and you're out (a pop fly from baseball). One out and you switch innings.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
He isn’t that specific on the shape of the bat—it can be
flat or round, he says. But it needs to be about arm length and thick, not
just any old stick. The ball is generally made of wrapped twine—because “a
rubber ball went too far.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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Everyone says the game resembles baseball—though in my
opinion it sounds a lot more like cricket. In any case, there were lots of
people from Kiğı working in America or elsewhere who might have brought the
game back home or else, maybe it’s a coincidence, or maybe it’s an older game
with Mesopotamian roots (though I haven’t heard of it played anywhere else).
Are there any Kurds or Armenians or Anatolians out there who have played gaço
or something like it?<o:p></o:p><br />
<br />
Addendum: I answer my own question with a little web search in Turkish--"Kürt beyzbolu"<br />
Check out <a href="http://alkislarlayasiyorum.com/icerik/168351/van-halkinin-urettigi-kurt-beyzbolu">this video</a>. In Van and Bitlis, apparently, a game like <i>gaço</i> is played. The Van people in this video call it <i>topa garan </i>with<i> garan </i>being a general word for group, often used for flocks and herds of animals.<i> Herd ball? (</i>And<i> top </i>is Turkish<i>, </i>which is weird--ye olde assimilation)<i>. </i>The word<i> herd </i>was used because it was played when people were tending flocks. One of your own team pitches the ball and it doesn't look like the batter runs, but another team member. One of the guys at the end explains that it is played with 15 players, 6 on each team and 3 others performing another job watching the animals. (Dede also mentioned the animals "leaving" when they played). He also says that the ball was made from goat hair stuffed tightly into a sock.<br />
<br />
<a href="http://www.haber7.com/neler-oluyor-hayatta/haber/965432-bitliste-kurt-beyzbolu-heyecani">This article</a> talks about how it is played in Bitlis. These guys say they mostly have tournaments in winter to reduce the chance of injury (less dangerous on snow?) One guy says "Most people say don't let the winter come, don't let it snow, but we can't wait for the snowy weather. It means Kurdish baseball!" They use an old axe handle for a bat.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjipt9Vu1vMZsQPC3fCQ7hdLPkdH4BSwDs7A776uAn9NycL6pMdTTBsv4zNYSBD5Bf959GqRAb4bxA9kTLPlSo3-3VZxYfAbDJpvdnIpovUvDTpeGHD4NSWEcyomUYU_cFLGO9LBKWjq5A/s1600/ball.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjipt9Vu1vMZsQPC3fCQ7hdLPkdH4BSwDs7A776uAn9NycL6pMdTTBsv4zNYSBD5Bf959GqRAb4bxA9kTLPlSo3-3VZxYfAbDJpvdnIpovUvDTpeGHD4NSWEcyomUYU_cFLGO9LBKWjq5A/s1600/ball.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A picture of the ball the Bitlis players are using--the stitching is either just like a baseball (but white) or it is a baseball </td></tr>
</tbody></table>
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<br />
With all this talk of what they use for balls and bats, it makes me think how odd it is, the vagaries of politics and history. Delal and I went to a Birmingham Baron's game last summer and I had forgotten how much I really love the sport. "This is a whole culture," she said to me. "Look at all the rituals and shows between innings." If Kurdistan had been a stable country and wealthy enough, a la England, then perhaps this game would have developed into a ritualized national sport. There would be regulations on what the ball could be made of--tightly wrapped wool?--and on the nature of the bat and shape of the field. But it stays in the villages (or in Bingöl's case--in the memories of the old folk) and so always has the flavor of the more chaotic American baseball of the 19th century (check out Shelby Foote's documentary for just how ruleless things were) before it was taken up as a formal, national sport.<br />
<br />
I wonder if the people of Bitlis, Van and Bingöl realize that they are all playing the same (or a similar) game, they might start organizing tournaments with each other--informal at first--and bring the game to wider attention. A Kurdish national sport?</div>
</div>
Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com1tag:blogger.com,1999:blog-7568989191454832962.post-3392346440099056372015-01-02T12:38:00.000+02:002015-01-02T12:43:37.924+02:00The Kurd and the Cracker in Thailand--Part 1<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtnf0xIqvF9jfG3FhEGuRlYymtRbOxLfR9vZy9lBSKc1lUQSRU8bMAMnXeQBu7wdEdIwrsNDym1248Mcunh99qQ1xcyy03j9aO_p6P2WWf2tITpsO8oM5a3bK6roNEfUvnp3G0gRPf_5k/s1600/IMG_3775.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtnf0xIqvF9jfG3FhEGuRlYymtRbOxLfR9vZy9lBSKc1lUQSRU8bMAMnXeQBu7wdEdIwrsNDym1248Mcunh99qQ1xcyy03j9aO_p6P2WWf2tITpsO8oM5a3bK6roNEfUvnp3G0gRPf_5k/s1600/IMG_3775.jpg" /></a></div>
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Title makes it sound like breakfast somehow, curds and crackers.<br />
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Anyway...</div>
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To be honest, I find myself often questioning the worth of
travel blogs these days. It’s eye catching, people might ping a picture or two, but it's somewhat boring and two-dimensional if you
ask me—even when people do interesting things. Now I like to hear about a good
adventure in another country as much as anyone, but the work of writing is such
an intensive and special process to me, an aspiration to sublimity. That’s
right. (And I mean it, too) If I write a travel blog, I'd like it to get at something I care about at least.<o:p></o:p></div>
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So here is my attempt.</div>
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During my fall break in November, Delal and I took a trip to
Thailand. I’d had dreams for several nights about what our trip would be
like—there was a kind of anthropological curiosity in the back of my mind about
what a Kurdish woman from Istanbul, born and raised in the Kurdistani mountains, would
make of tropical Bangkok. And a lover's curiosity about how Delal herself would react to something that had been, however much in the background now, an important part of my life--Asia, where I had lived and traveled for five years as a youth. I had heard the perspectives of my own countryfolk until
I could recite them by heart, but what would she think? What would make an
impression on her?<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_x0vzmcvWbxwwYr2jdjh5aVVJShd9Z-q0U48ohaAPzLZ0VCdgXwYgF0KVvpEvOlMkHUKsU0Y6JLiGrYKAuswL30haIzEotThg9ERTASrs87SsZEYvUq7HhIhW6uYftoWr7q_S4m1NosI/s1600/IMG_4053.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_x0vzmcvWbxwwYr2jdjh5aVVJShd9Z-q0U48ohaAPzLZ0VCdgXwYgF0KVvpEvOlMkHUKsU0Y6JLiGrYKAuswL30haIzEotThg9ERTASrs87SsZEYvUq7HhIhW6uYftoWr7q_S4m1NosI/s1600/IMG_4053.JPG" /></a></div>
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We were coming at a strange time, at least for people who’d lived through the last few years in Istanbul. Thailand is currently in the hands
of a military coup, run by a man, who, like our own Dear Leader, controls the
country with a fatherly iron fist. Like our own Dear Leader, he is taxing
alcohol and other vices because he thinks it’s bad for you, and like our own
Dear Leader, he is throwing protesters in jail willy nilly and making like it's for their own good. The day before our
arrival five students had held up the three fingered salute from the Hunger
Games to the reigning Prime Minister Prayuth Chan Ocha. They were promptly
arrested and taken to a military camp for “attitude adjustment.” <span style="mso-spacerun: yes;"> Prayuth said something patronizing to explain their detainment--I'm glad their brave but they must learn to use their bravery properly--and m</span>ilitary police were stationed outside some
theaters in Bangkok to catch people doing the same thing.<o:p></o:p></div>
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Prayuth and Dear Leader have a lot in common on the whole,
but these sorts are a tribe. They make up the secret cabal controlling the world that they're always ranting about. Power, I think, hones away certain parts of a
human being until finally it cuts away enough flesh and blood that it reveals
the same monster underneath—whether you’re in 21<sup>st</sup> century Thailand
or Turkey, 20<sup>th</sup> century Russia or the Germany of China, 19<sup>th</sup>
Century India or a 2014 Citibanker and his Congressional stooge in the United States—or
anywhere and anywhen else for that matter. Anyway, PM Prayuth does not like the
Hunger Games or booze or anything that harms the morality of the noble Thai people .<o:p></o:p></div>
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Of course, we saw none of this political topsy turviness. Nor would anyone touring
Turkey ever really notice the creeping government authoritarianism. Even
expats living here might never notice if they didn’t go looking. We did see one
group of college students next to a Bangkok metro station in Makkason—they were in a weed-strewn
vacant lot dressed in gas masks performing some sort of outdoor theater. Some did stunts on BMX bikes. The
way they were dressed reminded me of the characters in the murals of <a href="http://cinemusicompany.com/wp-content/uploads/2012/10/Mural-Ist-Pixel-Pancho-2-Detay-2-HDR-Turkey-Istanbul-Kadikoy-Yelde%C4%9Firmeni-15.10.2012-Photographs-by-B%C3%BClent-%C3%96zalp.jpg">PixelPancho in Kadıköy</a>—faceless, highly symbolic, slightly menacing. There was also a strong police
presence in the subway stations--cops rummaging through everyone’s bags, but that
might not have been out of the ordinary. Who knew? We were new.<o:p></o:p></div>
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But Bangkok charmed. </div>
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We stayed in Chinatown, Hua Lamphong. The
walk from here to the old city was an adventure in itself—nearly a mile of
sidewalk food stalls each seeming to serve a completely different dish. The
variety was dazzling and was all Delal could talk about—how could there be so many different kinds of food???? And this was just the
Chinese section of the city. Dozens of varieties of mushrooms, fresh and
dried, baskets upon baskets of local herbs and greens--kaffir limes, lemon
grass, Pandan leaves, Thai sweet basil--and many others I had no idea what was.
It was like an exhibition of Asian cuisine—and all so cheap! We had a lunch of two
bowls of duck noodles, a seafood salad, and two fresh coconuts macheted open
for the juice inside all for about eight dollars, and this was one of our more
expensive meals.<o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVNcEhEudCeiIsEXLIowlK5rwti-4ywQPJ17YTGfRQQ0cPO6w9ytZruiYTIqonHGgX8xT4M4iK7qDD_MWdrrKHbEen3Ujo0lr12hieTbTfwV-vWTdntEXuafJGFAmMBXf28mEL1H3ICkQ/s1600/IMG_3729.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVNcEhEudCeiIsEXLIowlK5rwti-4ywQPJ17YTGfRQQ0cPO6w9ytZruiYTIqonHGgX8xT4M4iK7qDD_MWdrrKHbEen3Ujo0lr12hieTbTfwV-vWTdntEXuafJGFAmMBXf28mEL1H3ICkQ/s1600/IMG_3729.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The beginning of our parade of food--lunch with coconut--YUM!</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfxol2eiSlkm3VDo0Ofe9rGNYosTbPlXjU9pmXeuXEzs9a1y8B0n8AQ0N8wlefvUpsZhg7WyGH2Lnqr1dUGKzr9FcA5S6nIZzzYoJ7STg9nDD0kn9NGTH6POGMymR9c3OdijRNkLMfiUs/s1600/IMG_3732.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfxol2eiSlkm3VDo0Ofe9rGNYosTbPlXjU9pmXeuXEzs9a1y8B0n8AQ0N8wlefvUpsZhg7WyGH2Lnqr1dUGKzr9FcA5S6nIZzzYoJ7STg9nDD0kn9NGTH6POGMymR9c3OdijRNkLMfiUs/s1600/IMG_3732.JPG" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3mtjMWfXsnfyFQKOYqPSZPSJetG2rD83m9dBkvOVJ8f4uxK8tS-nNm8zl_Sv9pr8BIQdJ7XBXuXAQ4ak3K3oKVUzUMjCi25fLnQb8stOt5_RIeVx050ThgtxZqDC2A1OkAolTm-5LmgM/s1600/IMG_3735.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3mtjMWfXsnfyFQKOYqPSZPSJetG2rD83m9dBkvOVJ8f4uxK8tS-nNm8zl_Sv9pr8BIQdJ7XBXuXAQ4ak3K3oKVUzUMjCi25fLnQb8stOt5_RIeVx050ThgtxZqDC2A1OkAolTm-5LmgM/s1600/IMG_3735.JPG" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlwYApr8BG9KCMQcr8q0yrjQzwarlHRj0pCSbbr2TkgTsFZirEtOAcurj3ebxJIDkNDC1NQpJFcvWKdfFIdonbQoZzCOVEE3AJAZP-YJM5JVq3F4Zlc9sITlZrOuiqmTo2kweEINCAlKk/s1600/IMG_3875.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlwYApr8BG9KCMQcr8q0yrjQzwarlHRj0pCSbbr2TkgTsFZirEtOAcurj3ebxJIDkNDC1NQpJFcvWKdfFIdonbQoZzCOVEE3AJAZP-YJM5JVq3F4Zlc9sITlZrOuiqmTo2kweEINCAlKk/s1600/IMG_3875.JPG" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAt3GNRY-Na7d2_9GqfCWYpTQWqlmdU4SZuEIvOFC-PQOxZpMkpWb6UP6cnsQ7bp7rcvVohhbzFxGpT_0PhrIicQH5_nPYdXiQ0QkkE923P64VwGfvy1UHCNux3M0SqTAQ96EdQdBKbwk/s1600/IMG_3882.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAt3GNRY-Na7d2_9GqfCWYpTQWqlmdU4SZuEIvOFC-PQOxZpMkpWb6UP6cnsQ7bp7rcvVohhbzFxGpT_0PhrIicQH5_nPYdXiQ0QkkE923P64VwGfvy1UHCNux3M0SqTAQ96EdQdBKbwk/s1600/IMG_3882.JPG" /></a></div>
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Delal noticed one major difference between Bangkok and
Istanbul right way. In Istanbul all of these vendors would have been harassing
us—buy this buy this buy this!! And they would also all have been men, men who would have been helloing us to death, trying to
drag us into their shops or simply staring and staring. Women, Delal said,
would be investigating through surreptitious glances, her clothes and hair and
demeanour, giving knowing glances to their friends or tsking or maybe even approving—but
no matter what, constantly judging. Here, no one seemed to notice us. And when
we ordered, they spoke English if they could, didn’t fret if they couldn’t, and
didn’t make a big deal out of our foreignness. They didn't even seem to notice.<o:p></o:p></div>
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We made our way through heat and choking air pollution to Wat Pho—one of the city’s oldest and grandest Buddhist temples and it was here that memory kind of flooded the
world. As I stepped through the gate, there was this tingling in my gut and the past suddenly boiled up and superimposed itself on the present. It was such an odd sensation. I had been here alone fifteen years ago, first earning to practice meditation. I
remembered the younger me—overwhelmed with the smells of the incense, the hot
tropical air and the ornate walls covered in multi-colored mirrored tiles, the
golden flame shapes on the sharp sloped roofs. I remember walking the quiet mazes filled with statues of the Buddha and the feeling of looking into a
kind of wisdom for the first time, one that I had always speculated was there and had not
yet dared to delve into due to childish fears from the Puritan Evangelism I had
grown up with.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Architectural details from Wat Pho</td></tr>
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<br /></div>
<div class="MsoNormal">
<o:p>How vivid this younger me becomes--it's like a take over from that moment in 1998.</o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I walk into the hall housing the main image of the Buddha
and remembered vividly walking into the same hall fifteen years ago. I am barefoot and in shorts, drunk from the sensual warmth after having frozen in
Tokyo’s winter. There is a light scent of incense, the sound of a bell that seems to
clear the air of other sounds and thoughts and restless things. Under a towering ceiling is a gigantic golden
statue of the Buddha meditating in the lotus position. He sits on a pedestal of
gold, surrounded by other gold statues of Ananda and other disciples.<span style="mso-spacerun: yes;"> </span>The walls are tesselated with murals of
classic Thai scenes of temples and gardens in a labyrinth pattern. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZXbTK7BRkmt7xsMOAWPq5LCj4eFxgWI6Pdu_blWeujvqCM1Dy6uYUgjwL-UnwsJIqCPb5pcO3c-7lNZ59cQwBMIpL03txGdY_fV5XZi8vbWiUSjWsKLSIJIwc8XoOsvb4-IWuaSNO3js/s1600/IMG_3852.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZXbTK7BRkmt7xsMOAWPq5LCj4eFxgWI6Pdu_blWeujvqCM1Dy6uYUgjwL-UnwsJIqCPb5pcO3c-7lNZ59cQwBMIpL03txGdY_fV5XZi8vbWiUSjWsKLSIJIwc8XoOsvb4-IWuaSNO3js/s1600/IMG_3852.jpg" /></a></div>
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<div class="MsoNormal">
I feel then
and felt now a sense of “This is it!” Not that I wanted to become a Buddhist
but that I had found something, spiritually or intellectually, that I had been looking
for all my life. My mind quieted a bit here, maybe for the first time ever.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
We continued walking this temple, me in this disorienting confluence of
then and now. I seemed to be seeing everything in double. It was deepened with every new thing we saw--I spent 6 months wandering Asia, doing a kind of unofficial impromptu spiritual quest that changed my life though not as much as it could have if I had really let go and given myself to the place. Every object here reminded me of that <i>me, </i>of life's potential as I was so vividly aware of it then. The monk in saffron robes, the hall of the reclining Buddha, the line of prayer bowls and the sound of chanting flowing over a quiet city dusk.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6k6d3UXGRHNTdyMCZ7a9UD3YZ_IJ1POctV98He9Mo8efqV1UpLa2PfE_tleMkpoRpPVF15SmDH76QMZfdXXhWtmsTkGzeqTO0cbfOPRvV-o_c56Xkfmlcxy-a5oFXAda5i4Q2SU8qP5Y/s1600/IMG_4054.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6k6d3UXGRHNTdyMCZ7a9UD3YZ_IJ1POctV98He9Mo8efqV1UpLa2PfE_tleMkpoRpPVF15SmDH76QMZfdXXhWtmsTkGzeqTO0cbfOPRvV-o_c56Xkfmlcxy-a5oFXAda5i4Q2SU8qP5Y/s1600/IMG_4054.jpg" /></a></div>
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<div class="MsoNormal">
Afterwards, we repaired through a maze of deserted riverfront alleys (Why were they deserted, the Istanbullus ask!) to a high-priced café on Chao Phraya River and sipped fruit shakes—Delal’s pineapple and mine mangosteen. Party
barges glided by. The lights of the city broke and reformed on the waves.
Bouncy traditional Thai music swelled and receded. Across the water was the
ancient Hindu-like towers of Wat Arun. Through a haze of jet lag, Delal told me
she loved Thailand.<o:p></o:p></div>
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I had to agree.<o:p></o:p></div>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com2tag:blogger.com,1999:blog-7568989191454832962.post-19959855238771282252014-12-28T13:23:00.000+02:002014-12-28T13:23:03.623+02:00Aegean Odyssey--part 3: Pergamon, the Greatest Ruins in Turkey<div dir="ltr" style="text-align: left;" trbidi="on">
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It’s been a while since I’ve written—I know. I would like to
start up again by concluding the travel log I’d started about our October trip
to the Aegean coast and the fabulous city of Pergamon.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">The city walls on the Acropolis</td></tr>
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The ruins of Pergamon are on a large hill north of the Turkish
town of Bergama. It is easily the most stunning ancient site I have seen in a
country inundated with them. The history here is dense. The church of Pergamon
is mentioned in the Book of Revelation as one of the churches of Asia that
crazy St. John was sending his letters to. It’s called “a dwelling place of
Satan” who had his throne there. Well isn’t that special. It was also the place
where parchment was invented and boasted the greatest library in the antique
world, with over 200,000 volumes, second only to Alexandria. The Roman
physician Galen was born there—the most famous doctor in the ancient world and
one of the first practitioners of psychotherapy. To the north of the main town
are the ruins of an enormous medical complex called the Asclepion where people
from all over the Roman empire came for treatment. The city was also a center
of the arts and boasted an enormous theater along a steep ridge that still
stuns to this day.<o:p></o:p></div>
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In short, it has quite a pedigree.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">From the Temple of Emperor Hadrian</td></tr>
</tbody></table>
</o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9GPckRWfB1sIIvAXSy2JNQ4aOolN01Y6Wc1As6rcFSdfXEY_4h-3nxUHBExdKI3xKONCnTYAKCUNu0TzpLas_4Z2ILYncezZZHeI7I18pXSZoyKpb-eXVJ8pzabb2GF8aUpdxk_GbAmY/s1600/IMG_3602.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9GPckRWfB1sIIvAXSy2JNQ4aOolN01Y6Wc1As6rcFSdfXEY_4h-3nxUHBExdKI3xKONCnTYAKCUNu0TzpLas_4Z2ILYncezZZHeI7I18pXSZoyKpb-eXVJ8pzabb2GF8aUpdxk_GbAmY/s1600/IMG_3602.JPG" /></a></div>
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We took the funicular one-way up the hill and walked down
through the ruins, though the woman at the ticket booth tried to talk us into a
more expensive round trip. Most people seem to fall for this as we encountered
absolute no one on our stroll down through perhaps the main and most interesting
part of the ruins. <o:p></o:p></div>
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The theater is a must-see—the steepest theater in the world
with a seating capacity for over 10,000 people. You emerge from the colonnaded
tunnels beneath the Imperial temple onto a steep stairwell with a dizzying,
breathtaking view of all the mountains around. It’s hard to imagine how anyone
could have concentrated on a play with that view in front of them.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">From these tunnels you emerge into the theater</td></tr>
</tbody></table>
</o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4fdx2kJnizRhgw-GMn4e1LwWKP2OXL7GjGGaEg9zyp0yW5PhZRwbx6DoAcKLw6QjWRziZR78_MZNLcgWtURovkRdvfT7wW75IM6VOI9G16PWZE_wDaRvdKkeyTlVUgeRcmkgJngQ_elE/s1600/IMG_3626.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4fdx2kJnizRhgw-GMn4e1LwWKP2OXL7GjGGaEg9zyp0yW5PhZRwbx6DoAcKLw6QjWRziZR78_MZNLcgWtURovkRdvfT7wW75IM6VOI9G16PWZE_wDaRvdKkeyTlVUgeRcmkgJngQ_elE/s1600/IMG_3626.JPG" /></a></div>
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From the theater we walked down the ancient Roman road,
still paved with brick, past the Altar of Zeus (the most interesting parts of
which have been moved to the Berlin Museum), one of the seven wonders of the
world and the thing John of Revelations meant when he said “throne of Satan.”<o:p></o:p></div>
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It was after this road that most of the tourists vanished
and we were left alone in the vast lower levels of the city. We toured the
sports stadium—all vine and columns and red dust. Everything was absolutely
silent except for the wind on the brick and weeds. There was a feeling that
everything was too old to even be haunted. Above the stadium was the house of
one of the governor’s of Pergamon—the mosaic floor and decorations still
intact. This was one of the most fascinating parts of the whole city—for here
you could imagine what everything would have looked like two thousand years
before, what it might have felt like to come home and sit down to relax after a
day’s work for a Roman government official.<o:p></o:p></div>
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<o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRDJZFCBj2r8QBFPJhC5MbogKy1iaB5JJv6P09MVL45WNe46vrjKKs7TDxIs0LXYuoYuT_7Y54zT8BD3FgYzcEX1xTCCVpgeWgAn44byASE0ShF_rSSNEAMetw_Iqit_xm_JfXF36x7hg/s1600/IMG_3639.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRDJZFCBj2r8QBFPJhC5MbogKy1iaB5JJv6P09MVL45WNe46vrjKKs7TDxIs0LXYuoYuT_7Y54zT8BD3FgYzcEX1xTCCVpgeWgAn44byASE0ShF_rSSNEAMetw_Iqit_xm_JfXF36x7hg/s1600/IMG_3639.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The remnants of the Altar of Zeus</td></tr>
</tbody></table>
</o:p></div>
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We emerged from the city walls and crawled under a fence at
the bottom of a hill, then walked to the Red Basilica in the middle of the town
of Bergama. It looks like a crumbling cathedral of broken brick but is actually
much older than Christianity. It used to be a temple to the Egyptian gods,
apparently, a concession to Egyptian expats living in the city. And what a
contingent their must have been for such a grandiose monument! You can still
find pieces of Serapis and Isis and Set and Ra in the shambling red towers. There
is one intact tower and when you first enter it from the sunlight, you are
immersed in utter darkness. Around the walls are statues of Egyptian gods—half
animal, half human--and in the center a podium with a secret entrance from
which the priests used to speak to worshippers—a disembodied voice from the
Egyptian underworld. The Lonely Planet claims this was the place John meant by “throne
of Satan”, not the Zeus altar, and it certainly feels more demonic, more
frightening.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Egyptian warrior goddess, Sekhmet at the Red Basilica</td></tr>
</tbody></table>
</o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXcrSb9717hi_g1-hknmQdFclh_sUKK1MeDGu_4a8-IlWYWHoAXGQL_heeNHKhgAFUogaJnhHyOi-TiCq_oMLA9rYR2iURO-qu_dJTbFjmj91mUDVZtwbaSwnVFQSxWwtEaxAg0m8A8ME/s1600/IMG_3650.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXcrSb9717hi_g1-hknmQdFclh_sUKK1MeDGu_4a8-IlWYWHoAXGQL_heeNHKhgAFUogaJnhHyOi-TiCq_oMLA9rYR2iURO-qu_dJTbFjmj91mUDVZtwbaSwnVFQSxWwtEaxAg0m8A8ME/s1600/IMG_3650.JPG" /></a></div>
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Delal and I visited the medical complex of the Asclepion
last—and I think this was her favorite part of the whole trip. It’s such an
extensive facility with mud baths and massage parlors and a building for the
treatment of the insane and a hot springs and a sleeping center where doctors
would listen to people’s dream rantings for an explanation of their illnesses.
A long road from the main city of Pergamon—about a mile in length—was
completely covered to prevent people from being affected by the weather.<o:p></o:p></div>
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I am always fascinated to walk these old roads, especially
the ones that emerge out of the brush and vanish back into it. The greatest
lengths of them lie under the ground—you can feel the presence of this buried
network of phantom highways and sideroads, all connecting a vast array of
cities and towns long dead and vanished, invisible under the modern map. I
always think of the millions who walked and drove them, and now my own
footfalls added to the history. The paving stones of the Asklepion road have
been worn smooth by centuries of feet—no ruts because no wheeled vehicles ever
traveled here. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">The road to the Asklepion</td></tr>
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Most of the hotels and pensions in Bergama were
unnecessarily expensive—“boutique” if you will. The Hera told us over the phone
that since we were Turks, she would give us a discount—which of course means
she regularly overcharged tourists. Never mind that neither of us were Turks.
We finally settled on the Odysseus Guest House, located in a historic Greek
mansion being refurbished by group of grad students and run by an extremely
nice guy who did not try to overcharge us in any way. Highly recommended—it boasts
a nice view of the old city and the Acropolis from it’s terrace and a copy of
the Odyssey—extremely relevant to the whole area, sits on the night stand in
each room. I read all the chapters on the places we had spent the week
traveling through.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Lake Manyas</td></tr>
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</o:p></div>
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On our drive back to Istanbul we stop by the Kuş Cenneti
(Bird Paradise) wildlife sanctuary near Bursa—a rapidly shrinking and according
to the covered lady who worked the information desk, dying refuge for migratory
birds. Chemicals from the poultry plant on the shores of Lake Manyas are
leaking into the birds’ habitat, and dams and agricultural run off are wreaking
havoc on the environment. You cannot approach the lake too closely. There’s an
observation tower and the park headquarters lends you a pair of binoculars. We
looked out from the top deck at what looked like the white reflection of the
sun all along the Southern shore. Then bits of the sunlight rose and began to
fly and that’s when I realized that what we were seeing were hundreds upon
hundreds of white pelicans. There were flamingos too, wading for fish and
egrets, storks, cormorants, spoonbills, and herons. <span style="mso-spacerun: yes;"> </span>Despite the ecological disaster we knew was
waiting for these birds, despite our distance from them there in that tower, there
was still something majestic about them, hundreds of them taking wing at once
and crossing the sunset sky.<o:p></o:p></div>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com1tag:blogger.com,1999:blog-7568989191454832962.post-7440993737537308692014-11-14T22:15:00.001+02:002014-11-14T22:15:18.070+02:00Ode to an Istanbul Autumn Night<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguqHJag4y62y_9XKJBbXlrHyp1Mh1_6JzLm5VTKMd9Q7BjYsHrDvE6N93MAlGWSQybxYiFo7pCXYzXk2PYAiBFZnoKyLd6DT3uSZjP1xrw-ZsVq3dSS6UKCY5V6-F1xGo4gheHdszNGTo/s1600/bozaci.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguqHJag4y62y_9XKJBbXlrHyp1Mh1_6JzLm5VTKMd9Q7BjYsHrDvE6N93MAlGWSQybxYiFo7pCXYzXk2PYAiBFZnoKyLd6DT3uSZjP1xrw-ZsVq3dSS6UKCY5V6-F1xGo4gheHdszNGTo/s1600/bozaci.jpg" height="320" width="243" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The boza seller--whose somber night buskings herald the Istanbul autumn</td></tr>
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<span class="s1">In Istanbul’s deep November, the boza man wanders far and wee. He only appears after 9PM, like a chuck-wills-widow. And the autumn night is misty, but not rainy. Swirls of droplets gather on the car windshields like sugar. And the air is still just warm enough to jog in a T-shirt and just feel a pleasant little chill as the wind rushes through the trees and sluices between the rows of apartments. The streets are wind tunnels. The maples and the chestnuts have turned lemon-gold and their leaves scatter the pavement, but the other trees remain stubbornly green. Grapevines wither. The boza man calls boooooooooooooza, booooooooooza. A long cry into the sky. A streetlamp in a line of street lamps sits in the middle of a fig tree like a captured star. The leaves swirl with a gust of wind. I run from island of light to island of light. I want to catch the boza man. Booooooooza. He turns a street corner, from shadow to shadow. I jog past an alley way and see him walking past a dumpster. He’s a bow legged Gypsy and leans to the left where he carried his heavy samovar of boza. A bald spot shines in the middle of his scalp. He calls out that slender, mournful song, like a ghost or a banshee, boooooooooooza and disappears around a Mercedes parked half on the sidewalk. And the street still seems to call booooooooza but with no human throat to voice it. Just a melody in the emptiness. Istanbul’s working class ezan.</span></div>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com0tag:blogger.com,1999:blog-7568989191454832962.post-12826714768545970602014-10-25T15:19:00.001+03:002014-10-25T15:24:18.693+03:00Epic Tour of the Aegean--Part 2 Ayvalık<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span>
<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">We
and the rental car leave Bozca Ada early in the morning. From the ferry port,
we head South toward Assos, winding through more fields of giant. Assos is
dramatic and beautiful—I’ve never seen anywhere like it--and as we approach a
storm cloud is engulfing the ruins at the top as black thunderheads roll in
from the Aegean. To the West is the sea and the island of Lesbos. We stop the
car in front of an abandoned farmhouse and scramble out. Delal is taking
pictures and I am just standing there at the edge of a cliff that plunges to
the blue-black water below. A billowing sheet of bruise colored storm has
rolled over the mountains of Lesbos except for one break in the clouds that
sends down a bright white shard of light onto a lone ferry crossing the waves.
The wind howls and shakes the olive trees. Goat bleats and bells. This place,
this moment, somehow has become magical.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj76UQ2CzZHwHjUizrRcRannKqwMtKbiaT2ag0ZcEp08IhIjFgb9KlLzgZbRZG1zUPqYkORdqbJpuajFstkwsowyJnn867e6QLwS-1a4k6imuHHpnpPXI_ovEqPZHi-79rxprMtczuEH9U/s1600/IMG_3476.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj76UQ2CzZHwHjUizrRcRannKqwMtKbiaT2ag0ZcEp08IhIjFgb9KlLzgZbRZG1zUPqYkORdqbJpuajFstkwsowyJnn867e6QLwS-1a4k6imuHHpnpPXI_ovEqPZHi-79rxprMtczuEH9U/s1600/IMG_3476.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The storm over Lesbos</td></tr>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">We
drive down into Assos and stop at a cliff-side cafe for a glass of fresh black
mulberry juice. The clouds moving over the islands creates this endless
kaleidoscopic lightshow.<o:p></o:p></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">From
Assos, we drive along the coast past all the beach camps and fish restaurants.
We are heading toward Ayvalık which lies on the other side of the cape. The
roadside is littered with bright yellow stands all selling the black mulberry
juice we’ve just drunk along with syrups and pekmezes and jellies. At one
point, off to the left is a spread of swampy flats filled with flamingos. Mt.
Ida (Kaz Dağ) is visible always in the East, a grey shape in the white fuzz of
humid air. This was the mountain where the Trojan war was set in motion, where
Paris made his fated judgement. Everywhere else is endless olive grove.<o:p></o:p></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Ayvalık
lies in Edremit bay, a pretty blue swath filled with tiny mountainous islands.
One of the islands, a long extinct volcano, is called Şeytan Sofrası, the supper
table of Satan. The “table” is a dried pool of lava. According to the sign at
the top, the Devil, during classical times, descended upon this mountain and
left one footprint here before he skipped on over to Lesbos and left the other.
Of course, Greek myth doesn’t have a devil so maybe they mean Apollo? The
scenery from here is dramatic and people flock here from around Turkey to watch
the sunset. People have tied wishes to all the bushes and trees and the white
papers flutter in the fierce October wind that rushes in from the water.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI24Gv0AZ6ZvrF3sAwsht_S246a8yV5Cyqt5WCu_y-5Etne1WNlaIVgOoqKyAemsHua8jHCcuKHY_MZZVLN3Pqqgbt-iIkj8aYlOSpG2LVG9qFJnclczOPFqyLmbmMySk2n681p_O_Vn4/s1600/IMG_3491.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI24Gv0AZ6ZvrF3sAwsht_S246a8yV5Cyqt5WCu_y-5Etne1WNlaIVgOoqKyAemsHua8jHCcuKHY_MZZVLN3Pqqgbt-iIkj8aYlOSpG2LVG9qFJnclczOPFqyLmbmMySk2n681p_O_Vn4/s1600/IMG_3491.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The sunset over Şeytan Sofrası</td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ody7G2s1uhav6DBdtcFUl0l5wo0hmG3_Glexq5LIpKIRwQAu1W1vZA0njiWYl1FpdqBvDvu_vz4pt47x2PJhpnTi0HVNzLXLH7h16ue7evsPv7BSe-cpPz7JJ1nVV-e2d2H_FKkgDhs/s1600/IMG_3497.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ody7G2s1uhav6DBdtcFUl0l5wo0hmG3_Glexq5LIpKIRwQAu1W1vZA0njiWYl1FpdqBvDvu_vz4pt47x2PJhpnTi0HVNzLXLH7h16ue7evsPv7BSe-cpPz7JJ1nVV-e2d2H_FKkgDhs/s1600/IMG_3497.JPG" /></a></div>
<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">What
sets Ayvalık apart is the old Greek city—crumbling apart but still intact, a
labyrinth of grand multicolored stone mansions, churches, stores and city
halls, some still in use, some abandoned and closed in with barbed wire and
some converted to beds and breakfasts. The city lost most of it’s Greek population
during the Mübadele—the Exchange—in which the Greek families who had lived here
for hundreds of years were moved to Greece while Turkish families in Greek
territory, mostly Crete and Macedonia, were moved here. We spent half the day
walking through the streets and taking pictures of the noble old houses. One
woman popped out of her window as I snapped a photograph and sparked a
conversation.<o:p></o:p></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">“Admiring
our houses?” she asks.<o:p></o:p></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">“They
are amazing,” I say.<o:p></o:p></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">“I
wish people took care of them. But the Turks that came here were just handed
them for free. If you don’t earn something how can you respect it? We came here
seven years ago and restored this one.”<o:p></o:p></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">“It’s
beautiful.” <o:p></o:p></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">“You
have to be careful when buying property here,” she goes on. “People steal the
historical markers over the doors and then put them on new houses and jack up
the price, pretending the home is antique when it’s not.”<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYCZ1hL_kWwCvLQhInpfPHMjQEipc2K1P12gA1Nqw2keDbJQm9eHPiDT0mxg2AsRJKC8x5zNDCc8rogWJ5cN4oQUYuOQB6WvmzIgNZ9_Va3zkDwHyTzN6wJxVjswZgVqKpW7SSKKF7ZZg/s1600/IMG_3509.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYCZ1hL_kWwCvLQhInpfPHMjQEipc2K1P12gA1Nqw2keDbJQm9eHPiDT0mxg2AsRJKC8x5zNDCc8rogWJ5cN4oQUYuOQB6WvmzIgNZ9_Va3zkDwHyTzN6wJxVjswZgVqKpW7SSKKF7ZZg/s1600/IMG_3509.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A former Greek Orthodox church now barbered up</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB6G8QAfLYvXes6NMqq0pM96tYzdNerBHDGgWfTWuG6iwvPC8SKouKqeBkfKeGXBGHaAjI7aWLAYGvUdHhCtLw1O6X-PfXMG1Dl7Pcu11CmN-5zSxy3OERtICT67oLEgHWza3KaS2ur5w/s1600/IMG_3514.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB6G8QAfLYvXes6NMqq0pM96tYzdNerBHDGgWfTWuG6iwvPC8SKouKqeBkfKeGXBGHaAjI7aWLAYGvUdHhCtLw1O6X-PfXMG1Dl7Pcu11CmN-5zSxy3OERtICT67oLEgHWza3KaS2ur5w/s1600/IMG_3514.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sidestreet of Ayvalık</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQjLyEJSJ9NRrHtnVecbwKK57BWs4OCCg3VQfCLjyhS8ES_2kQDQ3urFDPbHAydE_19j2EPfwPQWXoOjo3t0gbHBaktr45sSA-dgLNNjf8FNlr6-IY2cj0K0n9jlVlGLz1MRbaUE-VMhM/s1600/IMG_3526.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQjLyEJSJ9NRrHtnVecbwKK57BWs4OCCg3VQfCLjyhS8ES_2kQDQ3urFDPbHAydE_19j2EPfwPQWXoOjo3t0gbHBaktr45sSA-dgLNNjf8FNlr6-IY2cj0K0n9jlVlGLz1MRbaUE-VMhM/s1600/IMG_3526.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Historical home in Ayvalık</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmqoa5Z0yeq5b9YIE5DSUQmf1AeJ62gUoXM1bvwoQCTmf-9CvRARXkLPf7gJZ336IblpxtDLaLzJ8sQBUJbI7eSno_E6lTKhm4SyWDE50K3mHLySesAdAbKYVFYtdqT6ekd6A-hQrfzhU/s1600/IMG_3529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmqoa5Z0yeq5b9YIE5DSUQmf1AeJ62gUoXM1bvwoQCTmf-9CvRARXkLPf7gJZ336IblpxtDLaLzJ8sQBUJbI7eSno_E6lTKhm4SyWDE50K3mHLySesAdAbKYVFYtdqT6ekd6A-hQrfzhU/s1600/IMG_3529.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One of the more startlingly coloured houses</td></tr>
</tbody></table>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span>
<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Across
the causeway is Cunda Island, which has the most amazing seafood mezes in the
country. Inspired by Cretan and local recipes, there are dishes here you can
find nowhere else in the world. We picked a restaurant a little off the water
painted in Greek blue and white called Son Vapur. The service was impeccable.
When we asked for a plate of local mezes the owner made no fuss like the
restaurant of Bozca Ada (who almost bullied us into buying fish) but seemed to
immediately understand both what we wanted and why. My favorite dish was called
Balık Lokum—a rolled filet of fish wrapped around shrimp and broiled in a
buttery-cream sauce flavored with herbs. I thought the fish was lobster until
the chef explained it was sea bass. The ‘Island Greens’ (Ada otları) were also
extremely flavorful. For desert we had something called “Lor Tatlısı” which was
a light, sweetened local ricotta drizzled with mulberry preserves. The music in
the background was a huge draw—when we first arrived the were playing Greek
taverna music. At one point, there was a very melancholy song by <a href="http://www.youtube.com/watch?v=-pwMeT-_JiA">Lean Chamamyan</a>
that went right to the gut. Delal recognized it as an Armenian piece. Given the
rather extreme nationalism of this region of Turkey, it was a daring selection.
We asked the owner about it and she said she tried to play music from all
sections of Turkey--Kurdish, Turkish, Greek, Armenian, Zaza. <o:p></o:p></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">For
four seafood mezes, a desert, and a beer we paid 60 TL.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2KiIuJjSuR500Rhdsq98H0Ty68twqbUEpbr34MP5ulsyhJZtbkfCHvUzmo2FoZRnzXHdfJ0Ea3ODd0wUIL7S2vV4UR33H7rdQzAg_k3VOZ6WfOzW9qlKbtAZ8ecB2vhGB0A-g-8oguAg/s1600/IMG_3499.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2KiIuJjSuR500Rhdsq98H0Ty68twqbUEpbr34MP5ulsyhJZtbkfCHvUzmo2FoZRnzXHdfJ0Ea3ODd0wUIL7S2vV4UR33H7rdQzAg_k3VOZ6WfOzW9qlKbtAZ8ecB2vhGB0A-g-8oguAg/s1600/IMG_3499.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">It was a little dark so the pictures blurry, but these are the mezes</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJxp7_D-uBbKP2k2WkvVISX5gqaK7hHSRaIvQfmfD0AqvKytCzZOn1wDcb9f0PH0xEm-XPY-Cznl56_1PBcl4glYH9aALPPUTnAuJB5804OGg2G05GgEOWDDWNha5ajCRhEqwvUDkhF0k/s1600/IMG_3501.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJxp7_D-uBbKP2k2WkvVISX5gqaK7hHSRaIvQfmfD0AqvKytCzZOn1wDcb9f0PH0xEm-XPY-Cznl56_1PBcl4glYH9aALPPUTnAuJB5804OGg2G05GgEOWDDWNha5ajCRhEqwvUDkhF0k/s1600/IMG_3501.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Son Vapur</td></tr>
</tbody></table>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">For
our hotel we stayed at Ayazma Hotel on the waterfront—a nice view from our
balcony but we had a room facing the road and the noises of the cars woke me up
from time to time. The building itself is a restored Ayvalık house and was well
heated with wireless, but they had jacked up the price to 130TL for the Bayram
holiday. Still, service was friendly and breakfast excellent. <o:p></o:p></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Tomorrow—we
head for the ruins of Pergamon! <o:p></o:p></span><br />
<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Belediye Cad.</span><b><span style="color: #2d4486; font-family: Cambria; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></b></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Çarşı Sok. No 3 </span><b><span style="color: #2d4486; font-family: Cambria; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></b></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Cunda, Ayvalık 10140</span><b><span style="color: #2d4486; font-family: Cambria; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></b></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">0535 312 7260<o:p></o:p></span></div>
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<span lang="TR" style="font-family: Cambria; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Ayazma Oteli<o:p></o:p></span></div>
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Talatpaşa Cd, 10400 Ayvalık/balıkesir<o:p></o:p></span></div>
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<b><span lang="TR" style="color: #222222; font-family: Cambria; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Phone:</span></b><span lang="TR" style="color: #222222; font-family: Cambria; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><a data-number="02663126100" data-rtid="rhscol-16" data-ved="0CL0BEJAIKAEwEA" href="file:///javascript/void(0)" jsaction="r.oVdbr2mIpA8" jsl="$x 0;$t t-z54Ez16XnYc;$x 0;" style="cursor: pointer;" title="Call via Hangouts"><span style="color: #1a0dab; text-decoration: none; text-underline: none;">(0266) 312 6100</span></a><o:p></o:p></span></div>
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Jeff Gibbshttp://www.blogger.com/profile/10015034660930202907noreply@blogger.com0