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Sundance Award for Butterflies by Tolga Karaçelik

January 29, 2018, 5:51 am
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Mavi Boncuk | 

Sundance 2018 The World Cinema Grand Jury Prize: Dramatic 

Presented by Ruben Ostlund to: Butterflies / Turkey (Director and screenwriter: Tolga Karaçelik, Producers: Tolga Karaçelik, Diloy Gülün, Metin Anter) — In the Turkish village of Hasanlar, three siblings who neither know each other nor anything about their late father, wait to bury his body. As they start to find out more about their father and about each other, they also start to know more about themselves.Sundance Institute showcases bold, independent storytelling at the 2018 Sundance Film Festival, announced feature films selected across all categories. The Festival hosts screenings in Park City, Salt Lake City and at Sundance Mountain Resort, from January 18–28. 

Mavi Boncuk | 

WORLD CINEMA DRAMATIC COMPETITION Twelve films from emerging filmmaking talents around the world offer fresh perspectives and inventive styles and includes Karacelic’s upcoming third feature “Butterflies,” which is in the Antalya Film Forum’s Work in Progress platform, is a comedy of sorts prompted by the death of the director’s late uncle Mazhar Candan, who was a poet.

Tolga Karacelik, was born in Istanbul in 1981. He got a law degree in Turkey before moving to New York to study film, after writing some short stories and poems. His 2010 first feature “Toll Booth,” about a Turkish toll-station worker with a vivid imagination, scored critical kudos on the international fest circuit. He second film “Ivy,” set aboard a stranded cargo ship, premiered at Sundance in 2015, was shown at more than 30 festivals and scored multiple nods.




Kelebekler / Butterflies Teaser 2 from Karacelik Film on Vimeo.


World Premiere

In competition SUNDANCE Butterflies / Turkey (Director and screenwriter: Tolga Karaçelik, Producers: Tolga Karaçelik[1], Diloy Gülün[2], Metin Anter[3])

In the Turkish village of Hasanlar, three siblings who neither know each other nor anything about their late father, wait to bury his body. As they start to find out more about their father and about each other, they also start to know more about themselves. Cast: Tolga Tekin, Bartu Küçükçağlayan, Tuğçe Altuğ, Serkan Keskin, Hakan Karsak. 

Close-up of an astronaut’s face. The astronaut is Cemal. Kenan dubs home videos for a living. In a classroom, kindergarten teacher Suzan weeps frantically. They are the sons and daughter of Mazhar. Now, after being 30 years apart, their father calls them back home to their village of Hasanlar. They don’t know why. When they arrive to Hasanlar, they realise that their father is dead and in his will he asks to be buried when the butterflies come to the village to die; one of the many strangeness of this village. Three siblings who neither know each other nor anything about their father will have to kill time in this village while waiting for the time of the butterflies. As they start to find out more about their father and about each other, they also start to know more about themselves. 

DIRECTOR'S STATEMENT

Mazhar is dead; Mazhar Candan was my uncle and a poet, he died. My mother will die, my grandmother will die, my father will die, I will die. They’re still alive, I’m still alive, Mazhar Candan was my uncle and a poet and he died. He made me enjoy Odyssey when I was 9 years old. We took a journey through the kingdoms which Herodotus told about. When I was 11, he introduced me with Mayakovski and Yesenin. When I was 13, he said “Aysel, go away, I’m not the one for you”. My favorite poem of his started as “The sun sets, “maestro” silenced everyone with a shaky voice, holding one hand up like an actor”. Everyone remained silent and listened to him as he talked. As far back as I can remember, he used to say “this is my last year”. He said this for 20 years. That scared me when I was a kid; later on I just smiled it just made me smile. He wouldn’t die and I would smile. Until three years ago. I didn’t become aware of his death. One day my maternal uncle invited me over for lunch, saying “Mazhar and I are waiting for you”. I saw my maternal uncle and Mazhar, and sat across them. As I lifted my head up, I saw it was Hasan not Mazhar sitting next to my uncle. That day I realized Mazhar had died. I felt a knot in my throat, I could not breathe. I left the table without saying anything. I misheard him. He said Hasan, I heard Mazhar. I dragged myself to the street and cried for Mazhar for the first time, that day. When I went home I started thinking about death. Mazhar was gone and it hurt me. I pictured in my mind the faces of everyone I loved. One by one, I made them say “this is my last year” in my head. Then I sent them all to Hasanlar Village. This is how Hasanlar Village came to be and gave birth to its characters. I’m 35 years old. I feel like death is still far away. While I still feel stronger than death, I wanted to write a comedy where death is a character but not significant enough to be the lead. At Mazhar’s funeral I gave a speech and said “He always wanted to be an underground poet; he finally is”. No one laughed, but I thought it was funny. And I’m sure Mazhar was there and he also found it funny.

I wrote this movie to make Mazhar smile. 



[1] TOLGA KARAÇELİK directed two feature films and several award winning shorts. His debut film Toll Booth screened on festivals around the world winning thirteen awards including best first film, best actor and best cinematography at Turkey’s important film festival Golden Orange. The movie was screened at prestigious venues such as MOMA New York and Smithsonian. His second film Ivy premiered in Sundance and was shown at more than thirty festivals so war including prestigious festivals like Toronto, Karlovy Vary, Sao Paolo, Sydney. Ivy had been awarded more than 20 awards world wide including Best Film at East End Film festival of London and Best Film, Best director, Best script, Best Actor at Golden Orange and Best director and best actor at Adana Film Festival. Tolga Karaçelik was jury at Karlovy Film Festival’s East West Competition 2016.

[2] DİLOY GÜLÜN was born in Istanbul, graduated from Istanbul University Conservatory Violin department in 1988, received her BA degree from Bogazici University Economics Department in 1992 and Diplôme d’accès aux études universitaires from Sorbonne Paris 1 in 1995. She started working as production assistant in IFR in 1996. In 2001, she produced Ahmet Ulucay’s “Making Boats out of Watermelon Rinds” which won 8 awards in several international festivals. She founded Karma Films in 2003 and line produced several feature films including “Inferno” (Ron Howard / Sony Pictures), Taken 2 (Olivier Megaton / Europacorp), The Reluctant Fundamentalist (Mira Nair / Cine Mosaic), The International (Tom Tykwer / Sony Pictures), Narrow Frame of Midnight (Tala Hadid / Autonomous UK) and many others as well as documentaries and over 200 commercials. For more information: www.karma-films.com [*]

[3] METİN ANTER  started his career as director of Trimark Pictures International Production and Sales between 1996-2000. He settled in Turkey and founded Chantier Films in 2001 in the field of cinema film production and distribution. While bringing foreign productions to Turkey, Chantier Films has always aimed to offer high quality and successful productions to filmlovers and to undertake production of movies which will bring sound both in our country and abroad. His producer & distributor credits include Sofra Sırları/2017, Housewife/2017, Mihrez: Cin Padişahı/2015, Oh My God /2009, Son Buluşma/Last Meeting/2007

[*] KARMA Films | Contact ADDRESSNecati Cumali Sok. Pinar Apt. A Blok No:34 D.8 Akatlar - Istanbul / TURKEY OFFICE+90 212 352 7099 MOBILE+90 532 441 7732 EMAIL info@karma-films.comEMAILdiloy@karma-films.com
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Turkey Red

January 29, 2018, 7:04 am
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Cotton was becoming increasingly popular as fashion changed from heavy materials, especially linen, to light, easily washable fabrics. This was partly due to the expansion of trade with the US, which increased the amount of cotton available. The first cotton arrived in Glasgow in the 1760s and by the 1830s linen manufacture had disappeared from Glasgow as cotton took over. As the fashion for cotton developed, demand grew for it to be dyed and printed so that the cloth could be made into clothing etc.

Since the seventeenth century, traders had been bringing back vivid red printed fabrics from the East that didn’t fade in sunlight or run in water. The question, of course, was: how was it done?. 

Among the natural dyestuffs available to the dyers of the eighteenth century, madder root held pride of place both for fastness and versatility. According to the mordant used, a whole range of shades could be produced on cotton, from pink through purple and brown to nearly black. 

But there was one shade, the most valuable of them all, a brilliant and solid fiery red, which could only be dyed in India and the Near East. British and French dyers could not imitate it, and it was so much sought after that cotton yarn would even be sent to the Levant for dyeing, and re-imported.  

The colour was known as Turkey Red, or sometimes Adrianople Red.The coloring material of madder, alizarin, is concentrated in the root. 

The chemical alizarin extracted from the roots of the madder plant is the vital ingredient for the production of mordanted red dyes. 

The term ‘Turkey red’ applies not to the color but rather to the process that was used to create the bright and fast red.

Mavi Boncuk |



Fabric for Ravza-i Mutahhara (Prophet Muhammad's Tomb), Turkey, Istanbul, Ottoman Empire, 18th century AD, silk, view 2 - Textile Museum, George Washington University 

Turkey red[1] is a color that was widely used to dye cotton in the 18th and 19th century. It was made using the root of the rubia plant, through a long and laborious process. It originated in India or Turkey, and was brought to Europe in the 1740s. In France it was known as rouge d'Andrinople.

As the Industrial Revolution spread across Europe, chemists and manufacturers sought new red dyes that could be used for large-scale manufacture of textiles. One popular color imported into Europe from Turkey and India in the 18th and early 19th century was Turkey red, known in France as rouge d'Andrinople. Beginning in the 1740s, this bright red color was used to dye or print cotton textiles in England, the Netherlands and France. Turkey red used the root of the rubia plant as the colorant, but the process was long and complicated, involving multiple soaking of the fabrics in lye, olive oil, sheep's dung, and other ingredients. The fabric was more expensive but resulted in a fine bright and lasting red, similar to carmine, perfectly suited to cotton. 

The Society of Arts received more than eighteen submissions concerning Turkey red in the years before 1785. John Wilson, a dyer in Manchester, twice won a premium from the Society: he received £50 in 1761 for producing the best Turkey red and two years later a second award for making the color brighter. 

In France, the first privilège to produce Turkey red was granted about 1747, and the Imprimerie Royale printed instructions in 1765. 

Dozens of others applied for permission to manufacture their Turkey-red process, and French patents were granted in 1783 and 1791. 

As an aside, of interest to fabric collectors, Lyon and the Rhone Valley also produced Turkey red fabrics, called Rouge Adrianople, which were an orangeish-red. This dye had been imported from Turkey through France’s free port in Marseilles. Decades later, in 1776, the secret Turkey red recipe was pirated by dyers in Lyon and added to the list of many colors of high quality dyes for cotton produced there.

Premierement, c'est avec raison que les auteurs du proces verbal regardent comme nouvelle la couleur dont il s'agit; elle l'est en effet et par se beauté et par sa solidité, car en général les nuances legères des couleurs même les plus belles et les plus solides n'ont ni autant d'eclat a proportion, ni autant de ténacité que les mêmes teintures dans leur plénitude. Ce nouveau rose est par conséquent très estimable, et ne peut manquer d'être très avantageux aux manufactures, parce qu'il doit faire un très bel effet dans les siamoises et autres toiles de coton et fil en coton, soit pour habillements, soit pour meubles. Pierre-Joseph Macquer, Rapport de roses solides sur le coton, 30 October 1782, AN F/12/994. 


Emanuel Osmont, one of the grantees, won an award for adapting his techniques to produce a shade he called rose of Smyrna.10 This discovery excited the interest of Louis-Auguste Dambourney, himself owner of a dyehouse specializing in Turkey red. 

In 1818, an improved Turkey Red process was introduced near Accrington, Lancashire, by Frederick Steiner, an immigrant from Alsace. By this 
time the European manufacturers had also mastered the art of producing patterned effects with Turkey Red, employing resist dyeing and, later, 
discharge processes. The Madder Style was particularly important, using the fact that the colour of the madder dye was dependent on the 
nature of the mordant.  William Stirling introduced Turkey Red to the Vale of Leven in southwest Scotland in 1828. A few years later Turkey Red dyeing was practiced on a large scale in Holland.


The dyeing of Turkey-red on cotton, though a very late discovery in this kingdom, was established in Glasgow earlier than any part of Great Britain. In the year 1785, Mr. George Mackintosh … engaged Monsieur Papillon, an eminent Turkey-red dyer from Rouen in Normandy, carried him with him to Glasgow, and … built an extensive dye-house near Dalmarnock. 

The fabric was widely exported from Europe to Africa, the Middle East and America. In 19th-century America, it was widely used in making the traditional patchwork quilt.

Turkey red manufacturers were constantly looking for ways to improve, simplify or speed their process and they also employed university-trained chemists who conducted experiments on new dyestuffs, including the development of synthetic dyes. In the 1880s the production of alizarin was synthesized and German technical monopoly in production of this artificial alizarin, which speeded up the dyeing process considerably, resulted in a reduction in price of the finished goods. 

In 1897, in response to this and increasingly difficult trading conditions, compounded by restrictive tariffs on imports to India introduced in the 1890s, the leading Vale of Leven companies joined forces to found the United Turkey Red Company.Artificial alizarin generated a simpler and more consistent dyeing process that reduced labour costs, and because it required less oiling and mordanting, and less soap for cleaning, the material costs were also reduced. However, the ‘natural’ method of dyeing still enjoyed the highest prestige and ‘authentic’ Turkey red cottons from the Vale of Leven factories sold well into the twentieth century.


The industry, employing thousands of skilled and well-paid workers, had poor labour relations. Strikes were frequent, as were lay-offs later in the century, and the Turkey red process was noxious and dangerous. The hands of the Turkey red workers were permanently tinged red, and since they mostly lived in close proximity to the factories, in families where often all of the adults worked for the same firm, with oppressive management regimes to ensure that the technical secrets of dyeing and printing were protected, the businesses involved were viewed with scant affection. The impact on the natural environment was also problematical, with industrial pollution in the River Leven a cause for concern and local resentment throughout the life of the industry.

The Process
The process of dyeing cotton turkey red, as it was practiced in Turkey in the 18th century, was described in a text by a Manchester dyer[2] in 1786:

1. Boil cotton in lye of Barilla or wood ash
2. Wash and dry
3. Steep in a liquor of Barilla ash or soda plus sheep's dung and olive oil
4. Rinse, let stand 12 hours, dry
5. Repeat steps 3 and 4 three times.
6. Steep in a fresh liquor of Barilla ash or soda, sheep's dung, olive oil and white argol.
7. Rinse and dry
8. Repeat steps 6 and 7 three times.
9. Treat with gall nut solution
10. Wash and dry
11. Repeat steps 9 and 10 once.
12. Treat with a solution of alum, or alum mixed with ashes and Saccharum Saturni (lead acetate).
13. Dry, wash, dry.
14. Madder once or twice with Turkey madder to which a little sheep's blood is added.
15. Wash
16. Boil in a lye made of soda ash or the dung liquor
17. Wash and dry.[3] 

 According to Robert Chenciner, in Madder Red: A History of Luxury and Trade, it was a ‘noxious, stinking dyeing process with appeal limited to those who feel equally at home in the kitchen or the cowshed.’ Chenciner goes on to tell us that an 18th-century traveller in Greece, hunting for the secrets of Turkey red, noted that in a certain village where it was produced ‘the stench was so bad its only inhabitants were the dyers and their families.’ This is only too credible, as the dyeing processes required the use of copious quantities of blood, urine and animal dung!

[2] John Wilson, An Essay on Light and Colours, Manchester, 1786. Pg. 21-22.
Jump up ^ John Wilson, An Essay on Light and Colours, Manchester, 1786. Pg. 21-22.

[3] Sarah Lowengard (2006), The Creation of Color in 18th Century Europe,Columbia University Press.  LINK

[1] TURKEY RED. A name applied to one of the most durable and beautiful colors which have been produced on cotton. The process of dyeing cotton Turkey red is said to have been practiced in India from time immemorial; at present, the main seat of the industry is in the neighborhood of Glasgow. The operations are long and tedious, and their effect could scarcely be explained theoretically. Thus no reason could be given for the part of the process which consists in soaking the cloth in olive oil for a considerable length of time; yet this is well known to be one of the most essential operations in the dyeing process and is believed to be the cause of the rich appearance of the dye. Turkey red is one of the colors of alizarin which can be obtained either from madder (Rubia tinctorum) or by an artificial process of manufacture from coal-tar.




Link for Images http://www.colorantshistory.org/TurkeyRed.html See also: The History of Turkey RedTurkey Red: an Introduction
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1928 | Comparative Map of Sevres and Lausanne

January 29, 2018, 10:39 am
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Article | NATO leaders need to have a frank talk with Turkey’s president by Soner Cagaptay

January 29, 2018, 12:30 pm
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Mavi Boncuk |

NATO leaders need to have a frank talk with Turkey’s president — behind closed doors

By Soner Cagaptay 

Washington Post January 26

Turkish President Recep Tayyip Erdogan speaks on Tuesday during funeral prayers for Sgt. Musa Ozalkan, the first Turkish soldier killed in Turkey’s cross-border operation on Afrin, in Ankara, Turkey. (Kayhan Ozer/Pool Photo via AP)
Soner Cagaptay is director of the Turkish Research Program at the Washington Institute and author of The New Sultan: Erdogan and the Crisis of Modern Turkey.

From the West’s perspective, the Turkish government is the equivalent of a close relative with a substance abuse problem: President Recep Tayyip Erdogan has become addicted to authoritarianism. The effects on the family — in this case the NATO alliance, which has included Turkey since 1952 — are devastating. It’s time for President Trump and French President Emmanuel Macron, two leading NATO heads of state, to have a clarifying conversation with Erdogan about his country’s self-destructive impulses.

Wednesday’s phone conversation between Trump and Erdogan, which subsequently triggered a public disagreement between Erdogan and the White House on what was discussed, is precisely not how this should be done. Interventions can be embarrassing, and when Trump and Macron — two leaders of the alliance Erdogan is likely to listen to — speak forcefully to Erdogan about the state of Turkish democracy, it should be done in private.

Trump has shown patience with Turkey’s ongoing military operation against Kurdish militias in northern Syria, which Erdogan considers an existential threat. This should make the Turkish leader more inclined to listen to the U.S. president.

Erdogan, however, has a problem. Despite his best efforts to build a stable majority as the foundation of his new regime, his policies of demonizing the opposition have created a deeply polarized society. Half of Turkey despises him and will never accept him as its leader. But Erdogan has failed to grasp this fact, becoming even more authoritarian since the 2017 referendum that granted him sweeping presidential powers. Erdogan’s current trajectory will deepen Turkey’s crisis, potentially even triggering civil conflict.

Turkey has a history of right-left street fighting going back to the 1970s. The greatest risk facing the country now is that parts of Erdogan’s opposition, especially on the hard left, will conclude that voting is useless, give up on democracy and radicalize. Left-wing radicalization would trigger retribution from the pro-Erdogan camp, including conservatives and radical Islamists. During the failed coup of 2016, hundreds of Erdogan supporters gave their lives to defend him.

Russia, which has historical ties to Erdogan’s opposition, including the Kurdistan Workers’ Party (PKK), a terrorist group, will undermine Erdogan. Russian President Vladimir Putin does not want to replace Erdogan; he merely wants to exacerbate Turkey’s crisis. Moscow’s overarching goal is to weaken NATO. A paralyzed Turkey, violently split between pro- and anti-Erdogan camps, reinforces that goal. This trend is clearly not in U.S. interests.

Washington and its NATO allies need to engage Erdogan, while investing more broadly in Turkey’s future and stability. Erdogan is president after all, but Turkey is bigger than Erdogan.

Hence the need for a family intervention.

Trump and Macron should bring Erdogan, who has good personal chemistry with each of them, into their confidence. They should have a candid conversation with him, the way family members do with troubled kin. Trump and Macron should make the restoration of democracy a vital precondition for good ties with Erdogan in the future. They should tell him that they consider Turkey family, that they are worried about Turkey’s stability, but also that they are willing to listen to his concerns and help him turn around.

The incentive here should be that Trump will promise to support Erdogan against Turkey’s adversaries, particularly Russia and Iran, which are undermining Turkey’s interests from Syria to Crimea.

Even more importantly, Trump and Macron should vow to distance themselves from the People’s Protection Units (YPG), the Syrian Kurdish militia affiliated with the PKK that France and the United States have relied on to defeat the Islamic State. Before committing to this, Trump would need to align his generals. Some in the U.S. military, including Central Command, differ from White House policy on the YPG, envisioning a long-term relationship with the group. Trump would need to issue a clear directive across the government that this will not be the case.

Turks are almost universally opposed to any collaboration between the YPG and Ankara’s NATO allies. The defeat of the Islamic State provides an opportune moment for Trump and Macron to move away from the group. This stance would allow the American and French presidents to demonstrate their sincerity in reaching out to Erdogan while building bridges with broader Turkish society.

NATO needs to be a better friend of Turkish democracy. This is not a call for a cumbersome democracy-building project, because Turkey is already a democracy. Turkey’s allies need only to support the political space in Turkey in remaining open and competitive, and to help protect freedoms of association, assembly, media and expression.

NATO countries need not worry about Erdogan’s reaction: He is too scared of Russia, Turkey’s historic nemesis, to contemplate a break with the alliance. In the run-up to the 2017 referendum, which Erdogan won by a narrow margin, the Turkish-language version of Sputnik, Russia’s main online disinformation outlet, far outdid other foreign media in Turkey in spreading its own versions of the news — it campaigned almost exclusively against Erdogan.

By helping Erdogan to break his authoritarian habit now, Trump and Macron can prevent the nightmare scenario of a Turkey crippled by its own self-destructive tendencies. That, as the family of any addict can tell you, is a far worse scenario to deal with.

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Review | Sundance Film Review: ‘Butterflies’ by Tolga Karaçelik

January 29, 2018, 2:09 pm
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Director: Tolga Karaçelik[1] With: Tolga Tekin, Bartu Küçükçağlayan, Tuğçe Altuğ
1 hour 57 minutes

Mavi Boncuk |

Sundance Film Review: ‘Butterflies’

Tolga Karaçelik's bittersweet Sundance prizewinner sets up a familiarly dysfunctional family reunion, only to make several surprising switches in tone.
By Guy Lodge 

Official Site: http://www.imdb.com/name/nm3796645/

Three estranged adult siblings reunite for a road trip after being mysteriously summoned to their home village by their long-absent father, confronting their shared, troubled past along the way — on the face of it, Turkish writer-director Tolga Karaçelik’s heartsore, ruefully funny third feature “Butterflies” sounds like the very template of a laughter-through-the-tears Sundance crowdpleaser. But there’s a stranger, slyer current to this playful exercise in tone-switching that keeps the journey surprising even as its overall destination becomes clear. Not every one of the film’s absurdist comic lunges lands, and at just shy of two hours, this particular shaggy dog wouldn’t be hurt by a slight trim. But when Karaçelik keeps the focus squarely on the honest, complicated emotions of his superbly played core trio of characters — and less on the quirkier goings-on fizzing around them — “Butterflies” morphs into something rather lovely.

A Grand Jury Prize win at Sundance should boost the distribution prospects of a film destined for a long and popular festival run following its bows in Park City and Rotterdam. A very different kettle of kalkan from the intense genre mechanics of Karaçelik’s previous, well-traveled feature “Ivy,” his latest should comfortably build on that film’s distinguished profile. Though “Butterflies” gains interest from its specific, raki-doused cultural trappings — particularly those relating to the Muslim faith and community — its essential drama of a family broken and tenuously mended is a wholly universal one. (It’s not at all difficult to imagine the dynamics and geography of a hypothetical U.S. remake.)

The film opens on something of an outlandish red herring, as fortysomething Cemal (Tolga Tekin), a Turkish astronaut long settled in Germany, addresses Angela Merkel in a live news report on the negligence of the German space program, before underlining his protest by setting fire to his spacesuit in the studio. The tone is thus set for a harsher, more manic comedy, which continues as we’re introduced to Cemal’s two younger siblings: Kenan (Bartu Küçükçağlayan), a down-on-his-luck actor reduced to doing banal voiceover work, and Suzan (Tuğçe Altuğ), a teacher in the crumbling stages of her marriage to a grotesquely self-absorbed businessman. Karaçelik paints their individual person crises in broad strokes; once the three are brought together, however, their characters grow more textured and credible.

Cemal, trying to play the part of sensible older brother while harboring his own reserves of guilt and irresponsibility, receives an unexpected phone call from his father, instructing him to gather Kenan and Suzan and bring them to the dusty, remote hamlet where they grew up. For reasons that become gradually and tragically apparent, none of them has seen Dad in 30 years; it’s less straightforwardly clear why the relationship between the three siblings has grown rusty and strained, but evidently these family wounds run deep. Kenan is initially reluctant to join his brother and sister on the road; Karaçelik’s script beautifully tracks the brittle tension and incremental thawing between them — abetted by a combination of vintage Turkish pop music and rowdy-making local liquor — in their first days together.

Yet as soon as a comfortable road-movie rhythm is set, the three arrive home far sooner than we expect, in a landscape that cinematographer Andaç Sahan practically parches in shades of wheat and rusk, ahead of an elusive symbolic promise of rain. With this turn, “Butterflies” enters yet another register, as the ongoing raw realism of the family’s private interactions are played against the more heightened, even farcical goings-on in the now far-from-familiar village of their childhood, where street chickens literally explode at random and the nearest thing to a voice of reason is a neurotic imam shaken by a crisis of faith. A poetic strain of folk mythology enters the busy mix too, involving the village’s reputation as a resting place for dying butterflies.


If these contrasting modes of storytelling aren’t entirely complementary, they do heighten the emotional authenticity of the siblings’ more immediate, more intimate struggles, as they return to roiling wells of familial trauma, or identify ones they never quite knew before. “It’s been hurting ever since I was born, so I never noticed,” observes Suzan, the baby of the family; “Butterflies” is most perceptive and gut-punching on the ways in which we hold on to childhood memories to the point that we no longer know if we imagined them or not. All three leads pitch their performances perfectly, outlining strong, disparate personalities that are nonetheless plainly shaped by the same cause of pain and self-reliance. It’s in the moments when they involuntarily let go of their difference — whether collectively losing their cool over a private joke, or drunkenly, lumpenly dancing together to a dusted-off favorite song — that “Butterflies” most movingly takes wing.

Reviewed online, London, Jan. 25, 2018. (In Sundance Film Festival — World Cinema Dramatic Competition; Rotterdam Film Festival — Voices)

PRODUCTION: (Turkey) A Karma Films, Karaçelik Film production. (International sales: Karma Films, Istanbul.) Producers: Tolga Karaçelik, Diloy Gülün, Metin Anter.

CREW: Director, screenplay: Tolga Karaçelik. Camera (color, widescreen): Andaç Sahan. Editor: Evren Lus. Music: Ahmet Kenan Bilgic.

WITH: Tolga Tekin, Bartu Küçükçağlayan, Tuğçe Altuğ, Serkan Keskin, Hakan Karsak, Ezgi Mola, Ercan Kesal. (Turkish, German dialogue)

[1] Tolga Karacelik (1981,Istanbul) is one of the promising new generation Turkish directors who is known for his own unique style. After receiving law degree in Turkey he studied film in New York City. He had been writing short stories and poetry. I addition to writing and directing five short films that have been shown and won awards at various festivals domestically and internationally, he wrote and directed music videos and served as director of photography on a documentary feature. His award winning feature debut Toll Booth has screened at numerous prestigious festivals. He was one of the youngest directors to win Golden Orange (best first film, best actor and best cinematography), a prestigious Turkish Film Festival, where most of the Turkish directors show their first works. Toll Booth was selected as the opening film for Global Film Initiatives Global Lens 2012 series, and had been screened more than 35 cities across the US and Canada and in institutions like Smithsonian and MOMA, New York. His second feature IVY had premiered in Sundance and continues its festival circuit at prestigious festivals, and acclaimed highly by the critics all around the world. His next film Butterflies won The Binger award at Meetings on the Bridge Film Development Workshop and had been selected for Sundance Lab and CineLink Co-Production Market.

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US Outposts in Syria

January 30, 2018, 8:37 am
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Mavi Boncuk | Without citing specific sources, the state-run news agency unveiled the ten US outposts located in areas controlled by “terrorist” Kurdish militias in the provinces of Aleppo, Hasakah and Raqqa. 

The reports said that the military outposts are “usually hidden for security reasons, making it hard to be detected.” It said they were located “in the terrorist PKK/PYD-held Syrian territories,” a reference to Kurdish groups that Turkey’s government considers terrorist organizations. While locations of two of the bases, in Rmeilan district (in Hasakah province) and Harab Isk village (near Kobani, in Aleppo province), had already been widely publicized, the others had been mentioned only in outside reports, or were completely unknown. Anadolu’s story also provided systematic and detailed information about troop numbers, equipment, and US operational procedures at the outposts.


According to Bloomberg, Levent Tok, an Anadolu Agency reporter on the story, said the information about U.S. troop positions wasn’t leaked. "The story was based on field work by Anadolu’s Syria reporters and some of the information on bases had been broadcast on social media by Kurdish fighters", he told Bloomberg on Wednesday. “The U.S. should have thought about this before it cooperated with a terrorist organization,” he said.

The Anadolu report claims that the US operates several types of facilities in the Kurdish-controlled territories. Some are “field-type military points” which are “usually hidden for security reasons, making it hard to be detected.” The most prominent of these is Rmeilan, established in the Al-Hasakah province in October 2015. It has an airfield through which cargo planes deliver weapons to the fighters – one of the two major arms routes into the country, along with a land route from Iraq, according to the news agency. Another is Harab Isk, a helicopter base set up near Kobani in March 2016.

Apart from the more traditional facilities, the US-led coalition “uses some other places which are hard to be detected like residential areas, PKK/YPD camps, easily transformed factories.” Eight of the facilities are staffed with officers responsible “for airstrikes and artillery shelling, military consultants, training officers, [and] operational planning officers.”

“The equipment in the military points includes artillery batteries with high maneuverability, multi-barrel rocket launchers, various mobile equipment for intelligence and armored vehicles such as ‘Stryker’ for general patrols and security,” the report adds.
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The Turkish Cultural Foundation to Help Book Restoration in Ireland

January 30, 2018, 8:56 am
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The Turkish Cultural Foundation (TCF)  announced a grant to and new partnership with the Chester Beatty Library in Dublin, Ireland.

Founded in 2000 by Dr. Yalçın and Dr. Serpil Ayaslı, the Turkish Cultural Foundation is a U.S. tax-exempt public charitable organization with offices in Boston, Washington, D.C. and Istanbul, Turkey. Financed through a Trust established by the Ayaslı family and private donations, the mission of TCF is to support the preservation and promotion of Turkish culture and heritage worldwide. 

Mavi Boncuk | 

Katib Çelebi’s Cihan-numa (Mirror of the World, ) was printed by Ibrahim Müteferrika in Constantinople in 1732, and summarised Ottoman geographical knowledge of the time. It was one of the first texts to be published by Müteferrika, founder of the first official Ottoman printing house in Turkey.


The partnership will ensure the preservation of one of the earliest printed books in Turkish: the Kitab-ı Cihannüma (Mirror of the World, 1732) by the Ottoman Turkish scholar Kâtip Çelebi and printed by Ibrahim Müteferrika.
Described by the Lonely Planet as 'not just the best museum in Dublin, but one of the best in Europe', the Chester Beatty Library is a museum and library that houses the world-class collection of Islamic, East Asian and European art assembled by the great American philanthropist and collector Sir Alfred Chester Beatty (1875-1968).

Kâtip Çelebi is the pen name of Mustafa bin Abdullah (1609-1657), also later known as Haji Khalifa (Hacı Halife), who was an Ottoman historian and geographer and is regarded as one of the most productive authors of non-religious, scientific literature in the 17th-century Ottoman Empire. He began writing the Cihannüma in 1654, expanding on it over the years but unable to complete a second edition due to his untimely death.

Ibrahim Müteferrika (c.1674-1745), who printed the Cihannüma, played a special role in the story of printing in the Islamic world. A Hungarian, whose early life remains something of a mystery, Müteferrika became a senior figure at the imperial Ottoman court. Today he is remembered as the founder of the first official Ottoman printing house in Turkey. In 1727 he secured an edict from Sultan Ahmed III permitting him to print works of a non-religious nature. Subsequently, between 1729 and 1742 his press published 17 books, of which the Chester Beatty Library holds 13. [1]

Published in 1732 in Istanbul, the Chester Beatty Library's rare and complete copy of the Cihannüma has survived with all of its original 13 astronomical and 26 geographical maps intact. The ambitious text summarised Ottoman geographical knowledge of the time and is one of the earliest books printed in Turkey in Turkish.




Due to the importance of this volume, it was included in a recent Chester Beatty publication 'Director's Choice', at which time it was apparent that the book required extensive conservation and the Library approached the Turkish Cultural Foundation for support.

The book was tightly bound in an unsympathetic 19th-century binding which placed a strain on the pages each time the volume was opened. Over the centuries, with repeated use, the green copper-based pigment used to frame the printed maps had gradually burnt through the paper, causing most of the folios to split along this line. The support provided by the Turkish Cultural Foundation will enable the conservators at the Chester Beatty to re-sew the carefully conserved pages, reinforce the structure of the book and rebind the volume in an Islamic style binding that will allow the volume to be safely handled and displayed.

Fionnuala Croke, Director, Chester Beatty Library said: We are delighted to partner with the Turkish Cultural Foundation on this project. This is one of the most impressive early printed books in the collection and the TCF's support of the conservation treatment will enable us to put the Cihannüma on display, playing an important role in deepening the understanding and appreciation of Turkish cultural heritage in Ireland. 

Dr. Yalcin Ayasli, founder and Chairman of the Turkish Cultural Foundation stated: "We are pleased to provide support to the Chester Beatty Library in the preservation of this valuable publication. Kitab-ı Cihannüma carries historic significance as the sheds light on the scholarly accomplishments of Katip Celebi and his life-long efforts to spread scientific knowledge in the Ottoman Empire and beyond."

[1] Ibrahim Müteferrika and Ottoman Incunabula [*]



MCGill University (Montreal, Canada) Rare Books and Special Collections possesses 14 of the 23 publications of the Basma Khāne. All of these are on display, each one showing different aspects of the artistic development of the press, from elegant naskh type-setting to different woodcuts for the basmala to the inclusion of maps and other images accompanying the text.

Printing by means of movable type is thought to have developed in 11th century China, after which it later spread throughout the world and had a significant impact on Europe starting in the 15th century. Its invention was a fine example of the confluence of cultural and technological developments. Movable type is created by cutting lead into individual letters, setting these on a metal frame in reverse order, and applying ink to the surface in order to transfer the information to paper. The art form of the printing press and the texts they produced — from the layout of the page to the elegant typefaces that resulted – are fundamental to the history of the arts of the book in Arabic script, whether written in Arabic, Persian, Ottoman Turkish or Urdu.

The printing press is known to have existed in the Middle East amongst non-Muslims as early as the 16th century but it was not until 1729 that a Muslim, Ibrahim Müteferrika, began printing texts via this method. Müteferrika, based in Istanbul, secured a ferman (edict) in 1727 from Sultan Ahmed III permitting him to print works of a non-religious nature. Müteferrika’s press, called the Dârü’t-tıbâ’ati’l-ma’mûre, but more widely known as the Basma Khāne (printing house), would print 23 texts on grammar, history and other non-religious subjects over the course of its history. In total, Müteferrika produced approximately 13,000 physical volumes.

The Basma Khāne operated between 1729 and 1742 though its initial reception was greeted with trepidation. Calligraphers were the principal opposition to the printing press after the ferman had been issued. Calligraphy was seen as a pious and devotional act whereas the printing press, with its ability to mass produce texts, was regarded as a threat to the livelihood of many calligraphers.

The Basma Khāne laid the foundations for the development of moveable type printing presses in other Muslim countries, e.g., the Bulaq Press in Egypt. These presses, in response to a host of events and developments in the nineteenth century, allowed for the increased printing and dissemination of newspapers, journals, books and ephemera in the region.

[*]  A total of 17 titles have been published by Muteferrika at his own press during his lifetime :

Kitab-ı Lügat-ı Vankulu (Sihah El-Cevheri), 2 volumes, 1729
Tuhfet-ül Kibar fi Esfar el-Bihar, 1729
Tarih-i Seyyah, 1729
Tarih-i Hind-i Garbi, 1730
Tarih-i Timur Gürgan, 1730
Tarih-I Mısr-i Kadim ve Mısr-i Cedid, 1730
Gülşen-i Hülefa, 1730
Grammaire Turque, 1730
Usul el-Hikem fi Nizam el-Ümem, 1732
Fiyuzat-ı Mıknatısiye, 1732
Cihan-nüma, 1732
Takvim el-Tevarih, 1733
Kitab-ı Tarih-i Naima, 2 volumes, 1734
Tarih-i Raşid, 3 volumes, 1735
Tarih-i Çelebizade, 1741
Ahval-i Gazavat der Diyar-ı Bosna, 1741
Kitab-ı Lisan el-Acem el Müsemma bi-Ferheng-i Şuuri, 2 volumes, 1742

(Most of the copies of the book Tarih-i Çelebizade have been bound into the third and last volume of Tarih-i Raşid and sold together with it and thus have erroneously led several sources to believe a total of 16 items have been published.)



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75 Years Ago | 1943 Adana Mülakatı

January 30, 2018, 11:15 am
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 75 Years Ago | 1943 Adana Mülakatı 

Mavi Boncuk |



The Adana Conference or Yenice Conference (Turkish: Adana Görüşmesi , Adana Mülakatı  or Yenice Görüşmesi , Yenice Mülakatı  was a meeting between Turkish President İsmet İnönü and British Prime Minister Winston Churchill in a railroad car parking on a storage track at Yenice near Adana on 30–31 January 1943, where Churchill tried to persuade İnönü to join the Allied Forces and fight the Axis powers during World War II.

The event came to be known as the Adana Meeting later. But in fact, the meeting was held, not in Adana, but in a railroad car on a storage track at the Yenice Railway Station,  It is the main railroad junction of the Adana–Mersin Railway Line and the main railroad from the north (i.e. İstanbul-Bağdat Railway). Yenice is a town of Tarsus district in Mersin Province, Turkey. The choice of this location was decided after a series of talks between the Turkish Foreign Ministry and the British embassy in Ankara. The earlier choice of the British side was Cyprus (then a part of British Empire) and the choice of Turkish side was Ankara.

The teams were headed by İsmet İnönü and Winston Churchill. The other members of the Turkish side were Prime minister Şükrü Saracoğlu, Foreign minister Numan Menemencioğlu, Field marshal Fevzi Çakmak, and a group of advisers. The British team consisted of Harold Alexander, Henry Maitland Wilson, Sir Alan Brooke, Sir Wilfred Lindsell, Alexander Cadogan (foreign ministry), Air Marshal Drummond and Commodore Dundas.[6]

During the meeting, the British tried to persuade Turkish side to join the Allies, but İnönü showed extreme reluctance to join the war.  Churchill made lavish promises of military help (code-named operation 'Hardihood'). A list of military equipment was drawn up (the 'Adana Lists'), which – in the words of Churchill – would provide Turkey with war material 'to the full capacity of Turkish railways'. In turn, Churchill requested access to Turkish air bases for the RAF, so the British could bomb the oil fields of Ploieşti in Romania, the principal source of oil for Germany and the Italian positions in Dodecanese. To put pressure on the Turks to give up their neutrality, Churchill made clear that – should Turkey refuse to join the Allies – he would not try to check the Soviets if they made a move to control the Dardanelles.

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1919 | King Crane Report

January 30, 2018, 11:42 am
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Source

Mavi Boncuk | 

 The King-Crane Commission Report, August 28, 1919 [1][2]

Hatti Trust LINK | Mavi Boncuk Archives LINK

A report prepared by a commission led by two Americans, Henry King and Charles Crane, that was completed on 28 August 1919 and published in 1922. King and Crane were tasked by US President Woodrow Wilson to examine the situation in the former Ottoman territories in the Near East, including the various populations in the region and their positions, in order to guide American policy following the conclusion of World War I. In the report, present-day Israel, the Palestinian Territories and Jordan were all considered to be part of Syria. The commission collected over 1800 petitions containing various proposals as to the future status of the territory, of which the report offers a detailed analysis. It recommended that Syria be placed under the control of a Mandatory power, preferably the US or Britain, in order to prepare it for independence as soon as possible, eventually forming a united state under King Faisal with possible autonomy for Lebanon and Palestine. Noting significant Arab opposition to Jewish national aspirations, the report explicitly ruled out the establishment of a Jewish state and called for limits on Jewish immigration to Palestine.



Disputed Lands Map from the report.



The Commission had in its survey of Syria the assistance of Dr. Albert H. Lybyer, Dr. George R. Montgomery, and Capt. William Yale, U. S. A., as advisors; of Capt. Donald M. Brodie, U. S. A., as secretary and treasurer; of Dr. Sami Haddad, instructor in the School of Medicine of the Syrian Protestant College of Beirut, as physician and interpreter; of Mr. Laurence S. Moore as business manager; and of Sergt.-Major Paul O. Toren as stenographer. The advisors had all been previously connected as experts with the Peace Conference in Paris, and had been students of the special problems of the Near East.

The Commission had already familiarized itself before leaving Paris with the full and varied reports and material coming into the office of the Western Asia Division of the experts of the American Section of the Peace Conference, and with considerable other literature bearing on the Near East. The survey of Syria was made in the light of all this previous study.

The method of the Commission, in its inquiry in Syria, was to meet in conference individuals and delegations who should represent all the significant groups in the various communities, and so to obtain as far as possible the opinions and desires of the whole people. The process Itself was inevitably a kind of political education for the people, and, besides actually bringing out the desires of the people, had at least further value in the simple consciousness that their wishes were being sought. We were not blind to the fact that there was considerable propaganda; that often much pressure was put upon individuals and groups that sometimes delegations were prevented Tom reaching the Commission, and that the representative authority of many petitions was questionable. But the Commission believes that these anomalous elements in the petitions tend to cancel one another when the whole country is taken into account, and that, as in the composite photograph, certain great, common emphases are unmistakable.

The Commissioners were struck, on the other hand, with the large degree of frankness with which opinions were expressed to them, even where there was evident fear of consequences. In this respect the American Section had an evident advantage, which could not have held for a mixed Commission. Moreover, the nearly universal recognition of the fact that America sought no additional territory was favorable to a frank expressed of opinion.

The direct data, furnished by the inquiry in Syria, are given in a series of tables, prepared by the Secretary of the Commission, and based immediately upon the Conferences of the Commission and the petitions there presented. 

The Commission visited 36 of the more important towns of Syria, scattered through all the military areas, and heard delegations from other important centers. It should be noted that the list does not include at all the names of hosts of villages in the vicinity of towns visited, which were also represented by delegations before the Commission. Our records show that there were 1,520 such villages. Cilicia was briefly included in the Syrian inquiry, because it is disputed territory claimed both by Syria and by the Turkish-speaking portion of the former Turkish Empire

THE ITINERARY | June 10 to July 21, 1919

June10Commission arrived in Jaffa.
11, 12Interviews at Jaffa.
13By auto to Tel-a-Viv, Richon-le-Sion and Jerusalem.
14Jerusalem. Official calls.
15(Sunday)
16Jerusalem. Interviews
17To Bethlehem, Hebron and Beersheba by auto. Interviews at Bethlehem and Hebron.
18Interviews at Beersheba, including Gaza delegations. To Jerusalem by auto.
19, 20Jerusalem. Interviews.
21By auto to Ramallah and Nablus. Interviews at both places.
22By auto to Jenin and Nazareth. Interviews at Jenin.
23Interviews at Nazareth. To Haifa (Mt. Carmel Monastery) by auto. Interviews.
24To Acre by auto. Interviews. To Nazareth by auto.
25To Damascus by auto via Tiberias Capernaum
26Damascus. Official calls.
27, 28Damascus. Interviews.
29(Sunday).
30Damascus. Interviews
July1To Amman and Dera by train. Interviews at both places.
2, 3Damascus. Interviews
4To Baalbek by auto
5Baalbek. Interviews. To Beirut by auto.
6Beirut (Alieh)
7, 8Beirut. Interviews
9To Jebeil, Batrum, and Bkerke, by auto. Interviews at each place
10To Sidon and Tyre by auto. Interviews at both places.
11To Ainab, Baabda, and Zahle by auto. Interviews at each place.
12To Tripoli by yacht. Interviews.
13To Alexandretta by yacht. Interviews.
14To Ladikiya by yacht. Interviews. To Tripoli by yacht
15To Homs by auto
16Interviews at Homs. To Hama by auto. Interviews. To Aleppo by tram
17Aleppo.
18, 19Aleppo. Interviews
20To Adana by train
21Adana. Interviews To Mersina by train, via Tarsus. Interviews at Tarsus
and Mersina. Commission left Mersina on U. S. Destroyer "Hazelwood" [3] for Constantinople.

from the report

[1] King, Henry Churchill, 1858-1934.

Dr. Henry Churchill King was born at Hillsdale, Mich., in 1858. He is president of Oberlin College and one of America's best known educators as well as the author of numerous volumes on theology, education and philosophy. During 1918-1919 he was director of religious work for the YMCA in France. In September, 1919, he was appointed to serve on the American Section of the Peace Conference Inter-Allied Commission on Mandates in Turkey.


[2] Crane, Charles Richard, 1858-1939., 

Charles R. Crane was born at Chicago, Ill., in 1858. He was engaged in the manufacturing business in that city for more than a quarter of a century. He was a member of President Wilson's Special Diplomatic Commission to Russia in 1917; was a member of the American Section of the Peace Conference Inter-Allied Commission on Mandates in Turkey in 1919; American Ambassador to China from May 1920, to June 1921.


[3] USS Hazelwood (DD-107) was a Wickes-class destroyer built for the United States Navy during World War I. Hazelwood departed New York for the Mediterranean 15 April 1919. Reaching Gibraltar 9 May, she participated in training and served as escort to Arizona (BB-39). After patrolling the Mediterranean, she departed Malta 28 July and arrived New York 13 August. Next day she got underway for her new home waters, the Pacific. Sailing via Cuba and Panama, she arrived at San Francisco 5 September. After operations along the West Coast, she decommissioned at San Diego 7 July 1922.
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Mesir Macunu | Kebabe

January 31, 2018, 10:55 am
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Mavi Boncuk |



The Mesir Macunu Festival celebrated during the week of Nevruz (March 21-24), which is recognized as the beginning of spring, includes various cultural and traditional practices. It has been organized in Manisa for approximately 400 years.
Mesir macunu is an edible paste believed to have health benefits, and is based on historical events. Hafsa Sultan, the mother of Sultan Süleyman the Magnificent, came down with an unexplained disease while in Manisa.

Merkez Efendi, the chief physician of the Sultan Mosque Madrassa, made a paste from a mixture of 41 different herbs and spices as a remedy for this malady. This medicinal paste called "mesir macunu" helped Hafsa Sultan recover in a short period of time and it has been handed down to the present day. Hafsa Sultan was known for her charitable nature, and she asked that the mesir macunu that had healed her be distributed to the people every year during Nevruz. The paste is wrapped in small pieces of paper and thrown to the people from the Sultan Mosque. From that day until now, mesir macunu has been passed out to the people gathered around Sultan Mosque for the festivities at this time.

Mesir Macunu is a traditional Turkish sweet believed to have therapeutic effects. Mesir paste was first produced as a medicine during the Ottoman period, but later became an important part of local festivities in the city of Manisa. Earlier versions of Mesir macunu were not sweet, but rather spicy in flavor.

Macun is a sweet Turkish confectionery toffee paste that originated from spicy preparations of Mesir macunu.

Below is a list of spices and herbs used in making the Mesir Paste, along with their Turkish and Latin names:

Manisa Mesir Macunu

Allspice (Yeni bahar) (Pimenta dioica)
Alpina officinarum root (Havlican koku) (Alpina officinarium)
Anise (Anason) (Anisum vulgare)
Black cumin (Corek otu) (Nigella sativa)
Black Myrobalan (Kara halile) (Terminalia nigra)
Black pepper (Karabiber) (Piper nigrum)
Buckthorn (Topalak or Akdiken) (Nerprun alaterne)
Cardamon (Kakule) (Elettaria cardamomum)
Cassia (Hiyarsenbe) (Cassia)
Chebulic myrobalan (Kara halile) (Terminalia chebula)
China root (Cop-i cini) (Smilax china)
Cinnamon (Tarcin) (Cinnamomum verum)
Cloves (Karanfil) (Syzygium aromaticum)
Coconut (Hindistan cevizi) (Cocos nucifera)
Coriander (Kisnis) (Coriandum sativum)
Cubeb (Kebabe) (Cubebae fructus) [1]
Cumin (Kimyon) (Cuminum cyminum)
Dried orange blossom (Portakal cicegi)
Fennel (Rezene) (Foeniculum vulgare)
Galingale (Havlican) (Alpinia officinarum)
Ginger (Zencefil) (Zingibar officinalis)
Iksir sugar (Iksir sekeri)
India blossom (Hindistan cicegi)
Java Pepper (Kuyruklu biber) (Piper cubeba) [1]
Licorice extract (Meyan bali) (Glycyrrhiza uralensis fisch)
Licorice root (Meyan koku) (Glycyrrhiza glabra)
Mastic (Cam sakizi) (Mastichum)
Millet (Hintdarisi) (Pennisetum glaucum)
Myrrh (Murrusafi) (Commiphora Molmol)
Muskroot (Sumbul) (Adoxa moschatellina)
Mustard seed (Hardal tohumu) (Brassica nigra)
Orange peel (Portakal kabugu)
Rhubarb (Ravend) (Rheum Palmatum)
Saffron (Safran) (Crocus Orientalis)
Citric acid (Limon tuzu)
Senna (Sinameki) (Cassia senna)
Turmeric (Zerdecal) (Curcuma domestica)
Udulkahr (Udulkahir)
Vanilla (Vanilya) (Vanilla planifolia)
Woad (Civit) (Isatis)
Yellow myrobalan (Sari halile) (Fructus myrobalani)

[1] Jawa peppercorn, Jawanese pepper, Tailed pepper; French: Poivre de Java, Cubèbe, Poivre à queue | Jawa peppercorn, Jawanese pepper, Tailed pepper; German: Kubebenpfeffer, Jawanischer Pfeffer, Schwanzpfeffer, Stielpfeffer

Cubebs are the fruits of Piper Cubeba, Linne filius (N.O. Piperaceoe), a dioecious woody climber indigenous to Java, Sumatra, and Borneo, and apparently cultivated also in those islands, although exact information concerning the cultivation is difficult to obtain. The fruits were used as a spice, and as a medicine in the Middle Ages.

Piper cubeba, cubeb or tailed pepper is a plant in genus Piper, cultivated for its fruit and essential oil. It is mostly grown in Java and Sumatra, hence sometimes called Java pepper. The fruits are gathered before they are ripe, and carefully dried. Commercial cubebs consist of the dried berries, similar in appearance to black pepper, but with stalks attached – the "tails" in "tailed pepper". The dried pericarp is wrinkled, and its color ranges from grayish brown to black. The seed is hard, white and oily. The odor of cubebs is described as agreeable and aromatic and the taste as pungent, acrid, slightly bitter and persistent. It has been described as tasting like allspice, or like a cross between allspice and black pepper.
Cubeb came to Europe via India through the trade with the Arabs. The name cubeb comes from Arabic kabāba (كبابة‎), which is of unknown origin, by way of Old French quibibes. Cubeb is mentioned in alchemical writings by its Arabic name. In his Theatrum Botanicum, John Parkinson tells that the king of Portugal prohibited the sale of cubeb to promote black pepper (Piper nigrum) around 1640. It experienced a brief resurgence in 19th-century Europe for medicinal uses, but has practically vanished from the European market since. It continues to be used as a flavoring agent for gins and cigarettes in the West, and as a seasoning for food in Indonesia.

In Europe, cubeb was one of the valuable spices during the Middle Ages. It was ground as a seasoning for meat or used in sauces.

A medieval recipe includes cubeb in making sauce sarcenes, which consists of almond milk and several spices. As an aromatic confectionery, cubeb was often candied and eaten whole. Ocet Kubebowy, a vinegar infused with cubeb, cumin and garlic, was used for meat marinades in Poland during the 14th century.

 Cubeb can still be used to enhance the flavor of savory soups.

Cubeb reached Africa by way of the Arabs. In Moroccan cuisine, cubeb is used in savory dishes and in pastries like markouts, little diamonds of semolina with honey and dates. It also appears occasionally in the list of ingredients for the famed spice mixture Ras el hanout. In Indonesian cuisine, especially in Indonesian gulés (curries), cubeb is frequently used.

Cubebs have a stimulant and antiseptic action on the mucous membrane of the genito-urinary organs and are also diuretic. They are chiefly used in gonorrhoea and affections of the bladder, sometimes also in chronic bronchitis, the active constituents of the drug leaving the body by the kidneys and urinary passages, the skin and the respiratory organs. 
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Word Origin | Kitap. Evrak, Derkenar, Hamiş, Haşiye, Mushaf, Safahat, Safha, Sahife, Albüm

January 31, 2018, 2:32 pm
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Mavi Boncuk |

Kitap: book EN[1] fromAR kitāb كتاب] yazılı şey, belge, kitap ; fromAR katb/kitāba ͭ كتب/كتابة. yazı yazma Aramaic/Syriac kitābā כתבא  "1. dikiş dikme, bağlama, raptetme, 2. yazı yazma .
[ Atebet-ül Hakayık (1300 yılından önce) ]

Evrak: document[2] fromAR awrāḳ أوراق [çoğ.] yapraklar, (mecazen) sayfalar AR waraḳ ورق  yaprak → varak
[ ÖM (1437) : Çün ki vasfıŋda Sāfī evrak-ı defter depretür ]

Derkenar: sidebar, margin note EN [3] fromPE dar kanār در كنار kenarda olan, sayfa kenarı, marj  PE der+ kanār كنار → kenar
[ Daî, Nevhatü'l-Uşşak (1647) ]

Hamiş: sidebar, margin note EN [3] [fromAR hāmiş هامش  1. ısıran, 2. sayfa kenarına eklenen not AR hamaşa همش ısırdı

Haşiye: margin note EN [3] fromAR ḥaşiyya ͭ حشيّة  dolgu, kumaşın kenar süsü, sayfanın kenarına eklenen yorum, dip notu → haşa
[ Meninski, Thesaurus (1680) ]

Mushaf: fromAR muṣḥaf مصحف [#ṣḥf IV mef.] kitap, özellikle Kuran AR ṣaḥīfa ͭ صحيفة yazılı kâğıt, sayfa → sahife
 [ Mukaddimetü'l-Edeb (1300 yılından önce) ]
Bible EN [4]

Safahat:  pages[5]  EN fromAR ṣafaḥāt صفحات [çoğ.] düzeyler, düzlemler, sayfalar, safhalar AR ṣafḥa ͭ صفحة [#ṣfḥ] → safha
[ Meninski, Thesaurus (1680) ]

Safha: page EN [5] folio EN [6]fromAR ṣafḥa ͭ صفحة [#ṣfḥ mr.] düzlem, düzey, tabaka, kitap sayfası < Ar ṣafḥ صفح [msd.] yayma, düzleme
[ Aşık Paşa, Garib-name (1330) ]

Sahife: page EN [5] parchment EN [7]  fromAR ṣahīfa ͭ صهيفة [#ṣḥf sf. f.] yazılı sayfa, kâğıt yaprağı
[ İrşadü'l-Mülûk ve's-Selâtîn (1387) : indirdi Tengri Te'alā Adām Nebi'ge on sahife ]

Albüm: Album EN [8] from album boş yapraklardan oluşan kitap, ciltli defter fromL album [n.] beyaz şey, beyaz kâğıt, boş sayfa L. albus beyaz → albinos, ressam albümü [ Ahmet Mithat Ef. (1886) ]

[1] book (n.)
Old English boc "book, writing, written document," generally referred (despite phonetic difficulties) to Proto-Germanic *bokiz "beech" (source also of German Buch "book" Buche "beech;" see beech), the notion being of beechwood tablets on which runes were inscribed; but it may be from the tree itself (people still carve initials in them).

Latin and Sanskrit also have words for "writing" that are based on tree names ("birch" and "ash," respectively). And compare French livre "book," from Latin librum, originally "the inner bark of trees" (see library). The Old English word originally meant any written document. The sense gradually narrowed by early Middle English to "a written work covering many pages fastened together and bound," also "a literary composition" in any form, of however many volumes. Later also "bound pages," whether written on or not. In 19c. it also could mean "a magazine;" in 20c. a telephone directory. From c. 1200 as "a main subdivision of a larger work." Meaning "libretto of an opera" is from 1768. A betting book "record of bets made" is from 1812. Meaning "sum of criminal charges" is from 1926, hence slang phrase throw the book at (1932). Book of Life "the roll of those chosen for eternal life" is from mid-14c. Book of the month is from 1926. To do something by the book "according to the rules" is from 1590s.

The use of books or written charters was introduced in Anglo-Saxon times by the ecclesiastics, as affording more permanent and satisfactory evidence of a grant or conveyance of land than the symbolical or actual delivery of possession before witnesses, which was the method then in vogue. [Century Dictionary]
book (v.)

Old English bocian "to grant or assign by charter," from book (n.). Meaning "to enter into a book, record" is early 13c. Meaning "to register a name for a seat or place; issue (railway) tickets" is from 1841; "to engage a performer as a guest" is from 1872. U.S. student slang meaning "to depart hastily, go fast" is by 1977, of uncertain signification. Related: Booked; booking.

[2] document (n.) early 15c., "teaching, instruction," from Old French document (13c.) "lesson, written evidence," from Latin documentum "example, proof, lesson," in Medieval Latin "official written instrument," from docere "to show, teach, cause to know," originally "make to appear right," causative of decere "be seemly, fitting," from PIE root *dek- "to take, accept." Meaning "something written that provides proof or evidence" is from early 18c. Related: Documents.

[3] sidebar (n.) "secondary article accompanying a larger one in a newspaper," 1948, from side (adj.) + bar (n.1). margin (n.) mid-14c., "edge of a sea or lake;" late 14c., "space between a block of text and the edge of a page," from Latin marginem (nominative margo) "edge, brink, border, margin," from PIE root *merg- "boundary, border." General sense of "boundary space; rim or edge of anything" is from late 14c. Meaning "comfort allowance, cushion" is from 1851; margin of safety first recorded 1888. Stock market sense of "sum deposited with a broker to cover risk of loss" is from 1848. Related: Margins. margin (v.) c. 1600, "to furnish with marginal notes," from margin (n.). From 1715 as "to furnish with a margin."

[4] Bible (n.) "the Scriptures of the Old and New Testaments," early 14c., from Anglo-Latin biblia, Old French bible (13c.) "the Bible," also any large book generally, from Medieval and Late Latin biblia "the Bible" (neuter plural interpreted as feminine singular), from phrase biblia sacra "holy books," a translation of Greek ta biblia to hagia "the holy books." The Latin word is from the Greek one, biblion "paper, scroll," also the ordinary word for "a book as a division of a larger work;" see biblio-.

The Christian scripture was referred to in Greek as Ta Biblia as early as c. 223. Bible replaced Old English biblioðece (see bibliothec) as the ordinary word for "the Scriptures." Figurative sense of "any authoritative book" is from 1804. Bible-thumper "strict Christian" is from 1870. Bible belt in reference to the swath of the U.S. South then dominated by fundamentalist Christians is from 1926; likely coined by H.L. Mencken in the "American Mercury."

biblio-word-forming element meaning "book" or sometimes "Bible," from Greek biblion "paper, scroll," also the ordinary word for "a book as a division of a larger work;" originally a diminutive of byblos "Egyptian papyrus." This is perhaps from Byblos, the Phoenician port from which Egyptian papyrus was exported to Greece (modern Jebeil, in Lebanon; for sense evolution compare parchment). Or the place name might be from the Greek word, which then would be probably of Egyptian origin. Compare Bible. Latin liber (see library) and English book also are ultimately from plant-words.

bibliothec (n.) also bibliothek, Old English biblioðece "the Bible, the Scriptures," from Latin bibliotheca "library, room for books; collection of books" (in Late Latin and Medieval Latin especially "the Bible"), from Greek bibliotheke, literally "book-repository," from biblion "book" (see biblio-) + theke "case, chest, sheath," from suffixed form of PIE root *dhe- "to set, put." Used of the Bible by Jerome and serving as the common Latin word for it until Biblia began to displace it 9c. (see Bible). The word was later reborrowed from French as bibliotheque (16c.).

Byblos ancient Phoenician port (modern Jebeil, Lebanon) from which Egyptian papyrus was exported to Greece. The name probably is a Greek corruption of Phoenician Gebhal, said to mean literally "frontier town" or "mountain town" (compare Hebrew gebhul "frontier, boundary," Arabic jabal, Canaanite gubla "mountain"), which is perhaps a folk-etymology of the older Phoenician name, which might contain El "god." The Greek name also might have been influenced by, or come from, an Egyptian word for "papyrus."

library (n.)
place for books, late 14c., from Anglo-French librarie, Old French librairie, librarie "collection of books; bookseller's shop" (14c.), from Latin librarium "book-case, chest for books," and libraria "a bookseller's shop," in Medieval Latin "a library," noun uses of the neuter and fem., respectively, of librarius "concerning books," from Latin librarium "chest for books," from liber (genitive libri) "book, paper, parchment."

Latin liber (from Proto-Italic *lufro-) was originally "the inner bark of trees," and perhaps is from PIE *lubh-ro- "leaf, rind," a derivative of the PIE root *leub(h)- "to strip, to peel" (see leaf (n.)). Comparing Albanian labë "rind, cork;" Lithuanian luobas "bast," Latvian luobas "peel," Russian lub "bast," de Vaan writes that, "for want of a better alternative, we may surmise that liber is cognate with *lubh- and goes back to a PIE word or a European word 'leaf, rind.'"

The equivalent word in most Romance languages survives only in the sense "bookseller's shop" (French libraire, Italian libraria). Old English had bochord, literally "book hoard." As an adjective, Blount (1656) has librarious.

[5] page (n.1) "sheet of paper," 1580s, from Middle French page, from Old French pagene "page, text" (12c.), from Latin pagina "page, leaf of paper, strip of papyrus fastened to others," related to pagella "small page," from pangere "to fasten," from PIE root *pag- "to fasten."

Earlier pagne (12c.), directly from Old French. Usually said to be from the notion of individual sheets of paper "fastened" into a book. Ayto and Watkins offer an alternative theory: vines fastened by stakes and formed into a trellis, which led to sense of "columns of writing on a scroll." When books replaced scrolls, the word continued to be used. Related: Paginal. Page-turner "book that one can't put down" is from 1974.

[6] folio (n.) mid-15c., from Late Latin folio "leaf or sheet of paper," from Latin folio, ablative of folium "leaf" (source also of Italian foglia, French feuille, Spanish hoja), from PIE *bhol-yo- "leaf" (source also of Greek phyllon "leaf," Gaelic bile "leaflet, blossom"), suffixed form of root *bhel- (3) "to thrive, bloom." Ablative of location, because this was used in page references. Meaning "volume of the largest size" first attested 1620s.

[7] parchment (n.)  c. 1300, parchemin (c. 1200 as a surname), from Old French parchemin (11c., Old North French parcamin), from Late Latin pergamena "parchment," noun use of adjective (as in pergamena charta, Pliny), from Late Greek pergamenon "of Pergamon," from Pergamon "Pergamum" (modern Bergama), city in Mysia in Asia Minor where parchment supposedly first was adopted as a substitute for papyrus, 2c. B.C.E. Possibly influenced in Vulgar Latin by Latin parthica (pellis) "Parthian (leather)." Altered in Middle English by confusion with nouns in -ment and by influence of Medieval Latin collateral form pergamentum. 

[8] album (n.) 1650s (albo) "souvenir book," from Latin album, which in classical times was a board chalked or painted white, upon which public notices (the Annales Maximi, edicts of the praetor, lists of senators, etc.) were inscribed in black, hence "a list of names." This Latin word was revived 16c. by German scholars, whose custom was to keep an album amicorum of colleagues' signatures; its meaning then expanded to "book with blank leaves meant to collect signatures and other souvenirs." Johnson [1755] still defined it as "a book in which foreigners have long been accustomed to insert autographs of celebrated people." Latin album is literally "white color, whiteness;" it is a noun use of the neuter of the adjective albus "white" (see alb). The English word in reference to bound photographic collections is recorded by 1859. Meaning "long-playing gramophone record" is by 1951, because the sleeves they came in resembled large albums.

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Şehzadebaşi Ferah Tiyatrosu

January 31, 2018, 2:56 pm
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Mavi Boncuk | Şehzadebaşi Ferah Tiyatrosu
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Book | Sen Kalk Da Ben Yatam by Roni Margulies

February 6, 2018, 5:47 am
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Mavi Boncuk |

Sen Kalk Da Ben Yatam (Turkish) Paperback – 2015
Collected articles of the author critical of Kemalism and Atatürkism published in the Taraf newspaper as well as iconography on Atatürk.
by Roni Margulies[1]
Paperback: 280 pages
Publisher: Everest Yayinlari (2015)
Language: Turkish
ISBN-10: 6051419020
ISBN-13: 978-6051419022

Türkiye'nin en büyük "pop figürü" Mustafa Kemal Atatürk üzerine şimdiye dek çok şey yazıldı. "Ebedî Şef" genelde katıksız övgü ile yazı konusu oldu. Son yıllarda "Atatürk"e değil, "Mustafa Kemal"e de bakabilen kimi denemelerle karşılaşıyoruz. Kendisi ve algılanma bağlamları halen tartışmaya açılmış sayılmazsa da, akademik ve edebî karşı çıkışlar kısmen izlenebiliyor. 

Eleştirelliği elden bırakmadan, yoğun istihza ile yazılmış bu yazılar, Roni Margulies'in iki koleksiyonundan oluşuyor: İlki, çoğu Taraf gazetesindeki "Solduyu" köşesinde yayımlanan yazıları; ikincisi, çoğu ilk defa bu kitapla gün ışığına çıkan siyah-beyaz tören, büst, heykel fotoğrafları. Atatürk büstü önünde fotoğraf çektirenler, "Atam sen kalk da ben yatam" törenlerinde şiir okuyan çocuklar, statlarda bedenleriyle Atatürk imzası oluşturanlar, Kemalist düsturları yazanlar… Margulies'e şunları düşündürenler: "Vay be! Çocuklara ne eziyet etmişler! Nazi törenlerine, Kuzey Kore'deki heykellere ne kadar benziyor!"

Resmî ideolojiyi eleştiren, Kemalizmin aşırılıklarını alaya alan bu yazılar, yıllarca sahaflardan, ahbaplardan ve gazete arşivlerinden toplanan siyah beyaz fotoğraflarla beraber bize "yeni" bir şey öneriyor. Törene, bayrağa, heykele ve ezberlere yeniden bakmayı… Bu, nereden bakarsak bakalım, cesur bir öneri.

"Kemalistlerin demokrasi anlayışı zaten şöyle bir şey değil mi: Yığınlar bilinçsiz ve karanlığa açıktır; bu nedenle kendileri için neyin iyi, neyin kötü olduğunu bilmezler; kendi kendilerini yönetemezler. Bilinçli ve aydınlığa açık olan, silahlı ve üniformalı kişiler bilinçsiz yığınları yönetir. Bu yönetim şekline demokrasi denir. Zaten eski Yunanca'da "demos" kelimesi "Genelkurmay Başkanlığı" anlamına gelir, "kratos" ise Atina şehir devletinde hüküm sürmüş olan bir tür Özel Harp Dairesi'dir." 
-Roni Margulies-
(Tanıtım Bülteninden) 

Margulies' poetry is characterised by its epic intention. Practically all his poems are poetic translations of historical events (he is clearly fascinated by the past) and experiences. They always tell a story about some great theme, such as oppression, migration, alienation or death, but do so via the individual observation of small-scale events. Margulies is an excellent, almost photographic, observer. His use of language is clear and simple, but at the same time highly meticulous. Seven collections of his poetry have been published to date.

Margulies has also been politically involved for many years now, as a member of the Socialist Workers Party of Great Britain. In this, he is just as much driven by his nostalgic preference for the champions of utopian visions as by ideological conviction. He has written many journalistic articles and essays on the struggle against capitalism, both in English and in Turkish, in which he criticises with considerable critical acumen the hegemony of free-market ideology.


Erik-Jan Zürcher (Translated by John Irons)

 Poem | MARTILAR 

Kırgındır İstanbul’un martıları denize.
Mavi suların üzerinde uçmamış olanları,
yıllardır balık tatmamış olanları vardır.
Görmemiş olanları vardır kaç zamandır
çarpıp kayalara dağıldığını bir dalganın.

Betondur İstanbul martılarının yurdu.
Kanatlarının altında kızıl kiremitli damlar,
bacalar, çanak antenler, tenteli taraçalar,
balkonlarda oturan, caddelerde yürüyenler.
Gıda artıkları, naylon torbalar, çöp bidonları.

Ama ses bulur her gece büyük kırgınlıkları,
erişmek ister gibi uzak kaldıkları denizlere.
Özlem, cazgır çığlıklarla öfkeye dönüşür.
Umutsuz haykırışları karanlığı parçalar
ve karışır mutsuz insanlarınkilere.

THE SEAGULLS OF ISTANBUL

They feel let down by the sea:
Some haven’t flown over blue waters
or tasted fish for years,
haven’t even seen waves break
and foam over rocks.

Their home is of concrete:
Beneath their wings, red-tiled roofs,
chimneys, satellite dishes, covered terraces,
people on balconies or in busy roads,
food waste, plastic bags, dustbins.

At night they give voice to their hurt:
As though trying to reach their lost seas,
their longing turns into a rage that stuns,
their bitter screams tear through the dark
and mingle with bitter human ones.

Roni Margulies
Translation: Savkar Altinel 
First published on Poetry International, 2014 

Poem | Vor

Through the summer months in Yeşilköy
we used to play basketball ceaselessly,
my cousin Michel and I, Agop, Ara and Aret
in the grounds of the old Greek school.

“Vor to you,” Michel and I would respond
when the three met us with a hearty “Vor,”
and we’d all five fall about in wild laughter.
We knew: it meant “arse” in Armenian.

Agop’s family had a huge green garden
(large enough for three later buildings):
we’d pick figs off the trees at one end,
and kick a ball around at the other.

Then Aret and Agop left for America.
I for London. We have no news of Ara.

Only Michel remains still in Istanbul.
From five to one in twenty short years.

A city where no one says vor any more
cannot be Istanbul, cannot be my town.
It cannot be where I became what I am.
I ache for what it once was, I dream of it,
I sing of it.

The Armenian Weekly | Dec. 27, 2008

 See also: Ceberut devlet kaybolmadı (Interview in Turkish) 
 The Terrible Turk - Batı'nın Gördüğü Türk




[1]  Roni Margulies, (d. 5 Mayıs 1955, İstanbul) Yahudi kökenli troçkist görüşlü gazeteci, yazar, şair ve çevirmen.

Robert Koleji'ndan mezun olduktan sonra İngiltere'deki çeşitli üniversitelerde öğretim gördü. İktisat üzerine doktora yaptı. İktisatçılık yapmamayı tercih eden Margulies Londra'da hayatını sürdürdü. Yahudi asıllı olmasına rağmen kendisini siyonizm karşıtı ve devrimci olarak tanımlamaktadır. İlk şiir kitabını 1991 yılında çıkaran Margulies, toplam altı şiir kitabı, şiir çevirilerinden oluşan dört kitap, çocukluk anıları, siyasi tercümeler ve edebiyat, siyaset, tarih hakkında çok sayıda dergi ve gazete makalesi bulunmaktadır. 2002 yılında Saat Farkı adlı eseri ile Yunus Nadi Şiir Ödülü'ne layık görülmüştür.

27 Ağustos 2009'da Beyoğlu'nda dört ÖDP üyesinin boyalı saldırısına uğradı. Konuyla ilgili olarak ÖDP başkanı Alper Taş, saldırganlar parti üyesi ise, gerekenin yapılacağını belirtti. Daha sonra ÖDP'nin resmî sitesinden yapılan açıklamada, eylemin Margulies'in "uğruna bedeller ödenerek yaratılmış devrimci değerlere yönelik provakatif ve saldırgan tutumu"na karşılık şiddet içermeyen demokratik bir tepki olduğu savunuldu.

DSİP üyesi olan Margulies, hâlen Taraf gazetesinde köşe yazarlığı yapmaktaydı.

Roni Margulies (born May 5, 1955 in Istanbul, Turkey) is a Turkish poet, author, translator and political activist resident in London. Roni Margulies was born in Istanbul in 1955. Paternal grandparents, Joseph and Fanny Margulies, moved to Turkey in 1925 from Poland. Maternal grandparents, Moiz and Hilda Danon, are Sephardic Jews from Izmir. 

Margulies is a member of the Revolutionary Socialist Workers' Party (DSIP)[3] and translated Tony Cliff’s State Capitalism in Russia into Turkish.

Margulies attended the English-medium Robert College and moved to London in 1972 to study Economics. He has lived in London ever since, although he has spent an increasing amount of time in Istanbul in recent years

Has published seven volumes of poetry, a childhood memoir, a long essay on the Jewish community of Istanbul, and two books of collected literary and political essays and journalism. Margulies won the prestigious Yunus Nadi Poetry Award in 2002 with his book of poems, Saat Fark (Time Difference). Has published selected translations of the poetry of Ted Hughes, Philip Larkin and Yehuda Amichai in Turkish, as well as Hughes’ Birthday Letters.

Margulies has contributed regularly to numerous publications of the left and has translated Tony Cliff ’s State Capitalism in Russia into Turkish. He was editor of the ‘Guidebooks for the Anti-capitalist Movement’ published by Metis Publishers, and was editor of the features page of the daily Birgun in 2006–2007. 



INTRVIEW | Ayşe ARMAN
(aarman at hurriyet nokta com nokta tr )


Bugün Pazar Yahudiler Azar


'İstanbul'da doğdum büyüdüm, anadilim Türkçe, kendimi evimde hissettiğim yer İstanbul, ben burada kendimi yabancı hissedemem, ama hep yabancı olarak görüldüğümü biliyorum.' Bu cümle, İstanbullu Yahudilerden Roni Margulies'e ait. "Bugün Pazar Yahudiler Azar" kitabında okudum. Bu röportajı da bu yüzden yaptım...

İstanbul'da bir Yahudi olarak doğdunuz ve büyüdünüz. Bir ülkede azınlık olmak nasıl bir şey?

- Ben kendimi İstanbul'da hiçbir zaman azınlık olarak hissetmedim. Çünkü hiçbir İstanbulludan daha az İstanbullu değilim. Hatta, büyük çoğunluğundan çok daha İstanbulluyum. İstanbul benim vatanım, burada doğdum büyüdüm, anadilim İstanbul Türkçesi, burada okudum, burada yazdım, İstanbul'un tarihiyle ve ayrıntısıyla bilmediğim köşesi yoktur. Kendimi evimde hissettiğim yer İstanbul'dur. Ben İstanbul'da kendimi yabancı hissetmem, hissedemem, ama yabancı olarak görüldüğümü biliyorum. Çünkü yabancıyım, Yahudiyim. Gerçi, bu durumun ırkçılık olarak yansıyan çirkin yüzüne hiç maruz kalmadım. Ama milliyetçiliğin ve ırkçılığın yükseldiği bir ortamda, "yabancıların" başına neler gelebileceğinin bilincinde olmamak da mümkün değil. Endişe duyuyor insan. Bu günlerde, belki de hiç olmadığı kadar endişe duyuyor.
http://preview.hurriyet.com.tr/preview/image.aspx?picid=3269920
Roni Margulies kimdir?

- Künyem uzun. En iyisi kendimi şöyle tanımlayayım: İstanbullu, devrimci, şair, tercüman. Biraz daha biyografik olsun derseniz, 5/5/55 doğumluyum.

İyi de neyin nesidir? Nereden geliyor, nereye gidiyor?

- Robert Kolej'i bitirdim. Sonra İngiltere'de üniversiteye gittim, uzun süre orada yaşadım, iktisat doktoru oldum ama hiç iktisatçılık yapmadım. Daha güzel bir dünya istediğim için, üniversite yıllarımdan beri örgütlü sosyalistim. Dünyanın en iyi şairi olmak istiyorum. Ama bunun için geç kaldım galiba. Ekmeğimi ise, tercüme yaparak kazanıyorum.

Size neden "azınlığın azınlığının azınlığı" deniyor?

- Bu tanım, benden daha yoğun bir Yahudi çevrede büyümüş olan bir arkadaşıma ait. Yahudi cemaatin ortalama profiline pek uygun değilim ben. Çocukluğumda ne dindar ne de geleneksel bir eğitim gördüm. Ne de öyle bir çevrede büyüdüm. Zaten sosyalist olunca da, cemaat, din ve kan bağı gibi kavramlar toptan hayatımdan silindi gitti. Dolayısıyla, Yahudi cemaatinin geleneklerinin ayrıntılarını hiçbir zaman öğrenmedim. Türkiye'de Yahudi ve komünist, İngiltere'de Türk. Bir de siyah olsaydım, tam olacakmış!

Çocukluğunuzu nasıl hatırlıyorsunuz?

- Çok yoksul ve mutsuz olmadığı takdirde, her çocukluk nasıl hatırlanırsa, öyle: Sorumsuz, sorunsuz, güzel günler. Ve geride kaldıkça, gözüme daha da güzel görünen günler...

Ailenizin konumu neydi? Varlıklı Yahudilerden miydiniz?

- Tipik bir orta sınıftı. Durumu iyice bir İstanbul ailesi. Özellikle varlıklı değillerdi, ama o günlerin yani 1960'ların İstanbul'unda, güzel bir hayat yaşamak için, bugünkü zenginler kadar zengin olmak gerekmiyordu.

Nasıl bir ortamda, ne şekilde büyüdünüz? Hatırladığınız şeyler hoş mu, nahoş mu?

- Hatırladığım nahoş şeyler, beğendiğim bir kızın benimle ilgilenmemesinden daha öteye gitmiyor. Hoşluklarsa, sonsuz: Yeşilköy'de kiralanan sayfiyeler, o güzelim yaz günleri, ortaokuldaki sıcak dostluklar, dedemin her cuma bize gelip bir Jules Verne kitabı getirmesi... 

Cemaat hayatı nasıldır: Dayanışma çok yüksek, özgürlük az mıdır?

- Şunu itiraf etmeliyim ki, ben o dar cemaatin içinde büyümedim. Ama tabii ki, çoğunluğun baskısı altında kalan her azınlık, içine kapanır. Kendi içinde dayanışma ve yardımlaşma mekanizmaları geliştirir. Bugün aynı şey, Almanya'da yaşayan Türkler için de geçerli. Bu durum, o azınlığın üyelerini rahatlatır, hayatı kolaylaştırır ama, hiç şüphe yok ki özgürlüğü de kısıtlar. Herhangi bir yaptırım yoktur, ama kınama, dışlama yöntemleri vardır. Küçük bir cemaatin hayatı, köy hayatı gibidir. Herkes herkesin ne yaptığını, ne dediğini bilir. Kınanacağını bilmek, zaten yeteri kadar caydırıcı bir unsurdur. Ne var ki, Yahudi cemaati de eskisi gibi içine kapalı değil. Çoğu İspanya kökenli olan Türkiye Yahudilerinin konuştuğu İspanyolca'ya benzeyen dil Ladino mesela, artık kaybolmaya yüz tutmuş durumda. Karışık evlilikler artıyor, tüm toplumların yaşamı aynılaşıyor. Anneannemle Müslüman bir komşusunun yaşamları arasındaki farklılık, kız kardeşimle komşusu arasında artık yok.

Nedir bugünkü Yahudi cemaatinin kaygısı?

- Fazla görünür olmamak, göze batmamak. "Ses çıkarmaz, dikkat çekmezsek, kimse bize dokunmaz" gibi bir kaygı. Varlık Vergisi'ni, 6-7 Eylül olaylarını yaşamış insanlar için anlaşılır bir kaygı.

Bir kişiye yapılmış bir saldırı, bütün cemaate yapılmış sayılır mı?

- Tabii ki. Birinin Yahudi olması nedeniyle saldırıya uğraması, her Yahudi'nin saldırıya uğrayabileceğini gösterir. O nedenle herkesi ilgilendirir, korkutur. Örneğin, Hrant Dink'in öldürülmesi, herhangi bir Ermeni'nin, hatta herhangi bir azınlık vatandaşın, kendini tehlike altında hissetmesine yol açmıştır.

Sizin cemaat tarafından dışlanmanızın özel bir sebebi var mı? Ya da şöyle sorayım: Siz siyah koyun musunuz?

- Cemaat, yekpare bir şey değil. Elbet beni de bir seven vardır. Ama genel olarak, özellikle cemaatin resmi ve daha geleneksel kesimi bana pek düşkün değil. Çünkü onlar sessiz kalmayı tercih ediyorlar. Ben o sessizliği bozuyorum. E bir de siyasi görüşlerimden pek hoşlanmıyorlar. Ama benim için problem değil, hoşlansalar da olur, hoşlanmasalar da, çünkü o çevrelerle pek bir ilişkim yok. 

Yahudilerden komünist çıkması, çok sık rastlanan bir şey mi? 

- Türkiye Yahudileri arasında çok rastlanıyor olmayabilir, ama zaten toplamı 15 bin kişi olan bir cemaatten kaç kişi çıkacak ki? Yine de, sanıldığından daha fazla. Türkiye İşçi Partisi'nin kurucuları arasında da, daha sonraki pek çok örgütte de Yahudiler var.

İngiltere'ye göç etmemiş olsaydınız, bir Türk Yahudisi olarak yaşamınızı sürdürseydiniz; 1- Komünist olduğunuzu bu kadar rahat açıklayabilir miydiniz? 2- Bu kitabı bu kadar rahat yazabilir miydiniz?

- Komünist olduğumu elbette açıklardım. Gizlice komünist olmanın bir anlamı yok çünkü. "Eyvah, başıma bir şey gelir mi?" diye kaygılanarak da komünist olmak anlamsız. Gelebilir, burası Türkiye. Başa gelen çekilir. Kitabı ise, belki de yazamazdım. Bu kadar dışarıdan bakamazdım, daha zor olurdu.

Kendinizi Yahudiliğin üzerine çıkmış, aşmış, din ve millet olarak köklerinden kopmuş biri olarak mı değerlendiriyorsunuz?

- Ne alakası var! Çok çeşitli açılardan benden çok üstün insanlar vardır bu cemaatte. Bütün cemaatlerde olduğu gibi. Ama ne Yahudi cemaati ne de başka cemaatler beni ilgilendiriyor, çünkü içinde değilim. İnsan, cemaat halinde yaşamak zorunda değil. İlle gerekiyorsa, benim cemaatim arkadaşlarımdır. Her cemaat, din ve millet aidiyeti, başkalarını dışlamayı, hatta başkalarından üstün olma iddiasını içinde taşır, açıkça veya gizlice. Ben bunu reddediyorum. O kadar. 

Burada gizli bir kibir olabilir mi? Kendinizi diğerlerinden daha üstün görme...

- Gizli değil, açık bir kibir var! Ben insanlar arasında hiçbir ayırım yapmıyorum; eşitliğe en istisnasız anlamıyla inanıyorum; milliyetçiliğe ve ırkçılığa tüm benliğimle karşıyım ve bununla gurur duyuyorum. Herkesin böyle olması gerektiğine inanıyorum. Bazen bana "İsrail'i nasıl eleştirebiliyorsun?" diye soranlar oluyor. Çok kolay! Ben dünyaya belli bir ırk, din veya ulusun gözünden bakmıyorum, insan olarak bakmaya çalışıyorum. Yanlışı yapanlar benimle aynı kökeni paylaşıyor diye, o yanlış doğru olmuyor ki.

Siz bir şekilde cemaatinizle hesaplaşıyorsunuz. Zaten herkes, parmağını onlara yöneltmişken, sizin kendi cemaatinizi eleştirmeniz onları zor durumda bırakmaz mı? Zarar vermez mi?

- Ben cemaatle hesaplaşmıyorum ki. Zaten küçücük, küçülmeye hálá devam eden, kimseye bir zararı olmayan, sürekli beşinci kol olma zannıyla karşılaşan bir cemaat. Benim ne alıp veremediğim olabilir ki onlarla? Bu cemaatle ilgili bir sorun varsa Türkiye'de, sorun cemaat değildir, cemaatin karşılaştığı gizli ve açık ırkçılıktır. Zaten 15 bin kişi 70 milyona ne sorun çıkartabilir? Önemli olan 70 milyonun 15 bine hoşgörülü, anlayışlı, duyarlı davranmasıdır. Tersi değil. Bugün Türkiye'de her an vahşete dönüşme potansiyelini içinde taşıyan milliyetçilikle, ırkçılıkla uğraşmak gerekir, şu veya bu cemaatle değil. Ben de tam bunu yaptığımı düşünüyorum.

KİTAPTAN ALINTILAR

TÜRKÇENİZ MÜKEMMEL

Birkaç yıl önce bir şiir kitabım Yunus Nadi Şiir Ödülü'nü kazandığında, gazeteden genç bir kadın benimle söyleşi yaptı. İlk soru, "Türkçeyi çok iyi kullanıyorsunuz, ama niye anadilinizde şiir yazmayı tercih etmediniz?" idi. Sanırım İbranice'yi kastediyordu. Oysa benim anadilim Türkçe, zaten İstanbul'da da İbranice bilen hiçbir Yahudi tanımıyorum... Hayatım boyunca pek çok kez şu soruyla karşılaştım: "Türkçeyi ne güzel konuşuyorsunuz. Ne zaman öğrendiniz?" Ben de kibarca şöyle cevap verdim: "Teşekkür ederim, 1955'ten beri öğrenmeye çalışıyorum!" 

KÖYLÜ YAHUDİ OLUR MU?

İlber Ortaylı, Osmanlı ordusuna asker devşirilmesiyle ilgili olarak şöyle der: "Devşirmenin çeşitli kuralları vardır; kalabalık ailelerden alınır, tek çocuk alınmaz, Yahudi çocuk alınmaz. Çünkü Yahudiler kural olarak kırsal bir millet değildir, kentsel bir millettir. Kent uşağı, şehir uşağı devşirilemez." Bu cümleleri okuduğumda dank etti. Yahudiler gerçekten de, İmparatorluğun en kentsel gruplarından biri, belki de en kentsel olanı. Siz hiç Yahudinin köylüsünü duydunuz ya da gördünüz mü?

BEN ASKERDEYKEN


Erzincan'da 59. Topçu Er Eğitim Tugay'ında askerlik yapmaya gittim. Avazım çıktığı kadar, "Roni Margulies, İstanbul. Emret komutanım" diye ilk bağırdığımda, yüzbaşının yüzündeki "Neeeee?" ifadesi, askerliğimin en tatlı anılarından biri oldu. Sonra, aylarca hemen herkese ismimin esrarını izah etmem gerekti...


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Project Terminology ( A short Turkish-English Lexicon)

February 6, 2018, 6:57 am
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Mavi Boncuk |

Project Terminology ( A short Turkish-English Lexicon)
On the way to EU membership more reports will be written and more projects will be generated. In this context a short lexicon is helpful. Sourced from a joint project undertaken by Tarih Vakfi/Rockefeller Foundation, it clearly shows the difficulty of coming up with equivalents in the impoverished state of current Turkish language ."Gunluk" for "Harcirah" can be used. Should "Paydas" be "Shareholder"? It comes short. Isn't it? What is "Formulasyon!"?

Mavi Boncuk 

Proje döngüsü yönetimi : Project cycle management
Proje amaci/hedefler : Project objective/aim/goal/purpose
Çiktilar : OutputsUygulama adimlari : Activities
Göstergeler : Indicators
Bilgi kaynaklari : Sources and means of verification
Varsayimlar : Assumptions
Ön kosullar : Pre-conditions
Projenin tanimlanmasi : Project identification
Proje formülasyonu : Project formulation
Proje hazirlama : Project preparation
Proje seçimi : Project appraisal/ selection
Projenin onaylanmasi : Project approval
Projenin yürütülmesi : Project implementationIzleme : Monitoring
Degerlendirme : Evaluation
Denetim : Auditing
Mantiksal çerçeve : Logical framework
Zaman plani/çalisma plani : Time-plan/ work-plan
Mevcut durum analizi : Current situation analysis
Etki deðerlendirmesi : Impact assessment
Fayda saglayan gruplar : Beneficiaries
Paydaslar/taraflar : Stakeholders
Hedef gruplar : Target groups
Sürdürülebilirlik : Sustainability
Sürdürülebilir gelisme : Sustainable development
Proje alani : Project site
Proje gerekçesi : Project justification
Görev tanimi : Job description/ terms of reference
Katma deger : Added value
Proje süresi : Project duration
Kapasite gelisimi : Capacity improvement
Yayinlar : Publications
Çogaltici etki : Multiplier effect
Ortaklik : Partnership/ cooperation
Harcirah : Per-diem
Ayni katki : In-kind contribution
Araci kurum : Sub-contractor
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EU Watch | Electability Blues

February 6, 2018, 7:22 am
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Mavi Boncuk |

EU Watch | Electability Blues Kemal Kılıçdaroğlu was re-elected for a 5th term as chair of the main opposition Republican People’s Party (CHP) late on Feb. 3.

 Voting was held in the capital, Ankara, at the party’s 36th ordinary congress (Kurultay)[1] chaired by Yılmaz Büyükerşen, mayor of the Central Anatolian province of Eskişehir. 

 Kılıçaroğlu won 790 votes while his main challenger, Muharrem İnce, a deputy from northwestern province of Yalova, secured 447 votes. Thirteen delegates abstained from voting. 

[1] Kurultai (Mongolian:ᠻᠦᠷᠦᠯᠳᠠᠶ, Хуралдай, Khuruldai; Turkish: Kurultay),[dn 1] was a political and military council of ancient Mongol and some Turkic chiefs and khans. The root of the word is "Khur" (assemble/discuss) and that helps form "Khural" meaning political "meeting" or "assembly" in Turkic and Mongolian languages. Khuraldai (written Khuruldai) or Khuraldaan means "a gathering", or more literally, "intergatheration". This root is the same in the Mongolian word khurim, which means "feast" and "wedding" and originally referred to large festive gatherings on the steppe, but is used mainly in the sense of wedding in modern times.

 All Great Khans of the Mongol Empire, for example Genghis Khan and Ogedei Khan, were formally elected in a Kurultai; khans of subordinate Mongol states, such as the Golden Horde, were elected by a similar regional Kurultai.

During the Kurultai, Mongol Chiefs would all convene in order to choose the next Great Khan. The Kurultai, oftentimes but not always held in the capital of the Mongolian empire, were also a time to assign all critical positions of leadership as well as an opportunity to decide the militaristic direction to be implemented under new Khan and the aforementioned new leadership.

After the new khan has been elected, an elaborate enthronement procedure followed. Johann Schiltberger, a 15th-century German traveler, described the installation of a new Golden Horde khan as follows:

“ When they choose a king, they take him and seat him on white felt, and raise him in it three times. Then they lift him up and carry him round the tent, and seat him on a throne, and put a golden sword in his hand. Then he must be sworn as is the custom.”

Russian princes and boyars, who often had to wait in Sarai for the Kurultai to elect a new khan, who would then re-issue their yarlyks (patents), would no doubt often witness this khan kutermiak rituals, which became increasingly more frequent and futile during the mid-14th century time of troubles in the Horde, giving rise to the Russian word "кутерьма" (kuter'ma), meaning "running around pointlessly".

Kurultai were imperial and tribal assemblies convened to determine, strategize and analyze military campaigns and assign individuals to leadership positions and titles. One such example is Genghis Khan was declared Khan in the 1206 kurultai. Most of the major military campaigns were first planned out at assemblies such as this and there were minor and less significant Kurultais under the Mongol Empire under political subordinate leaders and generals.

The kurultai, however, required the presence of the senior members of the tribes participating, who were also in charge militarily. Thus, the deaths of Ögedei and Möngke in 1241 and 1259, respectively, necessitated the withdrawal of Mongol leaders (and troops) from the outskirts of Vienna and Venice (in 1241) and from Syria (in 1259), hamstringing military operations against the Austrians and Mamluks that might otherwise have continued.

Although the Kurultai was a serious political event in the Mongol world, it was also a festival of sorts including great feasting and various traditional games. Many of these traditions have been carried on in the modern day Mongolian event, the Naadam, which includes Mongolian wresting, horse racing, and archery competitions.

Modern usage

Various modern Mongolian and Turkic peoples use it in the political or administrative sense, as a synonym for parliament, congress, conference, council, assembly, convention, gathering. Examples are: World Qoroltai of the Bashkirs, Fourth Qurultay of Crimean Tatars, National Kurultai of Kyrgyzstan, the State Great Khural of Mongolia, People's Khural of Buryatian and Kurultai held today in Hungary, there written Kurultáj.

In Mongolian, the following forms of the word are still in use today: khuraldai, khuraldaan and khural. "Ulsin Deed Shuukhiin Khuraldaan" means "session of the National Supreme Court".

Also spelled as: kurultay, qurultay, qurıltai, qorıltay, and qoroltay.

The word has several modern usages in the modern Turkish language as well: "Yüksek Öğretim Kurulu"(Higher Education Counsel), "genel kurul toplantısı" (general board meeting), ". "Kurultay" is also a highly used word in modern Turkish meaning general assembly, such as that of organisations, committees etc. "Kurul" is also a verb in Turkish meaning to be established.

Çolpon-Ata | Çolpan Ata

Çolpan Ata veya Çolpon Ata (Kırgızca: Чолпон-ата, Turkish: Çulpan Ata) Чолпон: Zühre, Venüs, çobanyıldızı, çulpan, sabah yıldızı ve ата: ata anlamındadır.
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Ephemera Galore

February 6, 2018, 8:13 am
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Turkey in National Intelligence Council’s 2020 Project

February 6, 2018, 1:28 pm
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Mavi Boncuk |

National Intelligence Council’s 2020 Project

"Sev seni seveni hak ile yeksan (yerle bir) etse de. Sevme seni sevmiyeni Misir'a Sultan etse de/Love someone who loves you even if he floors you. Dont love someone who does not love you even if he makes you the ruler of Egypt." Old turkish saying

In this important CIA report, Turkey was mentioned 4 times. See the full PDF here
Mavi Boncuk 

Report of the National Intelligence Council’s 2020 Project
Based on consultations with nongovernmental experts around the world
December 2004

(page 57)

Possible Turkish membership presents both challenges—because of Turkey’s size and religious and cultural differences—as well as opportunities, provided that mutual acceptance and agreement can be achieved. In working through the problems, a path might be found that can help Europe to accommodate and integrate its growing Muslim population.

(page 58)

According to US Census Bureau projections, about half of the world’s population lives in countries or territories whose fertility rates are not sufficient to replace their current populations. This includes not only Europe, Russia, and Japan, where the problem is particularly severe, but also most parts of developed regions such as Australia, New Zealand, North America, and East Asian countries like Singapore, Hong Kong, Taiwan, and South Korea. Certain countries in the developing world, including Arab and Muslim states such as Turkey, Algeria, Tunisia, and Lebanon, also are dropping below the level of 2.1 children per woman necessary to maintain long-term population stability.9

9 Nicholas Eberstadt, “Four Surprises in Global Demography,” Foreign Policy Research Institute’sWatch on the
West, Vol 5, Number 5, July 2004.

(page 61)

If no changes were implemented Europe could experience a further overall slowdown, and individual countries might go their own way, particularly on foreign policy, even if they remained nominal members. In such a scenario, enlargement is likely to stop with current members, making accession unlikely for Turkey and the Balkan countries, not to mention long-term possibilities such as Russia or Ukraine. Doing just enough to keep growth rates at one or two percent may result in some expansion, but Europe probably would not be able to play a major international role commensurate with its size.

(page 63)

Deliveries from the Yamal-Europe pipeline and the Blue Stream pipeline will help Russia increase its gas sales to the EU and Turkey by more than 40 percent over 2000 levels in the first decade of the 21st century; as a result, Russia’s share of total European demand will rise from 27 percent in 2000 to 31 percent in 2010. Russia, moreover, as the largest energy supplier outside of OPEC, will be well positioned to marshal its oil and gas reserves to support domestic and foreign policy objectives. Algeria has the world’s eighth largest gas reserves and also is seeking to increase its exports to Europe by 50 percent by the end of the decade.


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Map | Griechenland und Kleinasien

February 6, 2018, 1:31 pm
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Mavi Boncuk | 

Griechenland und Kleinasien vom XIten. bis in die Mitte des XIIIten. Jhdts. (with) Livadia und Morea. (with) Hellespont & Propontis. W. Alt sc. K.v. Spruner's histor Atlas: S.-O.-Europa u. V.-Asien No. III. Gotha: Justhus Perthes. Rev. 1860. 

AUTHOR/CREATOR Spruner von Merz, Karl[1] (author)



Karl Spruner von Merz (15 November 1803 – 24 August 1892), or Karl von Spruner as he preferred to be known, was a German cartographer and scholar. He spent most of his long life in military service. He joined the Bavarian army, aged 11, in 1814, and was promoted to lieutenant in 1825.[1]:397 He established a reputation as a scholar, but it was not until 1851 that this came to the notice of his military superiors, leading them to promote him to major in 1852 and to lieutenant colonel in 1855. He was promoted to general in 1883, and finally retired in 1886, after 72 years in the Bavarian army.

He is best known for his historical atlases. The first of these was his Historischer Atlas von Bayern (historical atlas of Bavaria), published in 1838. His greatest work was his Historisch-Geographischer Hand-Atlas, whose first edition appeared in parts from 1848 to 1853.

Heinrich Theodor Menke made major contributions to its second and third editions. In 1842, he was made a member of the Bavarian Academy of Sciences and Humanities.


Atlas General De Geographie Physique, Politique Et Historique Par L. Dussieux ... J.L. & C. Paris Jacques Lecoffre Et Comp., Libraires, Rue Du Vieux-Colombier, 29. (on opposite page) Paris. - Impremerie Simon Racon Et Comp., Rue D'Erfurth, Paris : Jacques Lecoffre et Comp. 


1850 Carte de L'Asie Mineure ... 1845
  AUTHOR/CREATOR Delamarche, Felix.
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Ece Ayhan | Kınar Hanımın Denizleri

February 7, 2018, 7:05 am
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Not to be translated...ever. Ece Ayhan[1] and his untranslatable poetry. Suat Karantay[2] tried.

See also : ECE AYHAN’IN ŞİİRLERİ ÜZERİNE BİR ARAŞTIRMA | Doktora Tezi | Erdoğan KUL


Ece Ayhan: Heretic poet by Hakan Arslanbenzer 

"One of the leading figures of the ‘Second New' movement in Turkish poetry, Ece Ayhan was a rebellious poet who avoided daily routine jobs and systems, and reflected his nature in his poems by pushing the boundaries of language in an effort to break the literary tradition and create a new realm of meaning" 

Mavi Boncuk |

Ece Ayhan | Kınar Hanımın Denizleri

Bir çakıl taşları gülümseyişi ağlarmış karafaki rakısıyla
şimdi dipsiz kuyulara su olan kınar hanım'dan
düz saçlarıyla ne yapsın şehzadebaşı tiyatrolarında şapkalarını
                   tüketemezmiş hiç

İşte kel hasan bu kel hasan karanlığı süpürürmüş
ters yakılmış güldürmemek için serkldoryan sigaralarıyla
işte masallara da girermiş bir polis o zamanlardan beri sürme
                   kirpiklerini aralayarak insanları çocukların

Ve içinde birikmiş ut çalan kadın elleri olurmuş hep
gibi bir üzünç sökün edermiş akşamları ağlarken kuyulara kınar
                   hanım'ın denizlerinden.

Ece Ayhan | MEÇHUL ÖĞRENCİ ANITI

Buraya bakın, burada, bu kara mermerin altında
Bir teneffüs daha yaşasaydı
Tabiattan tahtaya kalkacak bir çocuk gömülüdür
Devlet dersinde öldürülmüştür

Devletin ve tabiatın ortak ve yanlış sorusu şuydu:
-Maveraünnehir nereye dökülür?
En arka sırada bir parmağın tek ve doğru karşılığı:
-Solgun bir halk çocukları ayaklanmasının kalbine!dir.

Bu ölümü de bastırmak için boynuna mekik oyalı mor
Bir yazma bağlayan eski eskici babası yazmıştır:
Yani ki onu oyuncakları olduğuna inandırmıştım

O günden böyle asker kaputu giyip gizli bir geyik
Yavrusunu emziren gece çamaşırcısı anası yazdırmıştır:
Ah ki oğlumun emeğini eline verdiler

Arkadaşları zakkumlarla örmüşlerdir şu şiiri:
Aldırma 128! İntiharın parasız yatılı küçük zabit okullarında
Her çocuğun kalbinde kendinden daha büyük bir çocuk vardır
Bütün sınıf sana çocuk bayramlarında zarfsız kuşlar gönderecek.




[1] Ece Ayhan (b. Datça,Muğla September 10, 1931- d. Çanakkale 15 July 2002)

Graduated from the Faculty of Political Science in Ankara. He is one of the most innovative and controversial poets of Turkey. His poetry is at times overburdened with excessive wordplay, allusions and resemblances. Kinar Hanimin Denizleri (Mrs. Kinar’s Seas/1959), Bakissiz Bir Kedi Kara (Black Cat with No Gaze/1965), Ortodoksluklar (Orthodoxies/1968), Devlet ve Tabiat (State and Nature/1973), Yort Savul/1977 are several of his well-known poetry collections.

[2] Suat Karantay is a Professor of Translation Studies and the Head of the Translation and Interpreting Department at Boðaziçi University. He is the Secretary General of the Turkish PEN Center, and the author of numerous articles on translation theory and criticism, as well as on drama and American literature

VIOLET RASCAL

"Mor Kulhani," Yort Savul (1982). Istanbul: Adam Yayinlari, pp.15-17.

Translated by Suat Karantay

1. Dark is our poem, old chaps

It’s the poem of smart youths in tight-fitting pants
Who start wrestling with themselves
As soon as they hear the sound of a drum and flute
With no players, in portable toilets of gypsies

Love is a matter of organization, just think of it, old chaps

1. Şiirimiz karadır abiler

Kendi kendine çalan bir davul zurna
Sesini duyunca kendi kendine güreşmeye başlayan
Taşınır mal helalarında kara kamunun
Şeye dar pantolonlu kostak delikanlıların şiiridir

Aşk örgütlenmektir bir düşünün abiler

2. Our poem can do anything, old chaps

It’s the poem of a young woman who lived in Valde Atik
On the Old Poets' Dead End, hair braided and unbraided with a single word
Who roamed the streets of ill-fame, crucified on seven branches
In a cemetery nearby, her watches robbed

Perhaps in heavenhell life is short death is long, old chaps

2. Şiirimiz her işi yapar abiler

Valde Atik'te Eski Şair Çıkmazı'nda oturur
Saçları bir sözle örülür bir sözle çözülür
Kötü caddeye düşmüş bir tazenin yakın mezarlıkta

Saatlerini çıkarmış yedi dala gerilmesinin şiiridir

Dirim kısa ölüm uzundur cehennette herhal abiler

3. Our poem dries up roses, old chaps

It’s the poem of a bird-seller from Besiktas
Who at the Syrian bath stifled with foam
His youngest son with dimpled buttocks and a lovely beauty spot
The one who underwent a transformation and fled to Karabiga
aboard a sand barge

Sons must know to withdraw silently from being a son, old chaps

3. Şiirimiz gül kurutur abiler

Dönüşmeye başlamış Beşiktaşlı kuşçu bir babanın
Taşınmaz kum taşır mavnalarla Karabiga'ya kaçan
Gamze şeyli pek hoş benli son oğlunu
Suriye hamamında sabuna boğmasının şiiridir

Oğullar oğulluktan sessizce çekilmesini bilmelidir abiler

4. Our poem breastfeeds men, old chaps

It’s the poem of a blind boy who might want to become an oculist
Is crippled and sells burnt candy
Even though his grudge hasn’t taken the shape of a rifle
Practices shooting by spitting on the soles of his feet

He sees such weekly pictures and acquires legs, old chaps

4. Şiirimiz erkek emzirir abiler

İlerde kim bilir göz okullarına gitmek ister
Yanık karamelalar satar aşağısı kesik kör bir çocuğun
Kinleri henüz tüfek biçimini bulamamış olmakla
Tabanlarına tükürerek atış yapmasının şiiridir

Böylesi haftalık resimler görür ve bacaklanır abiler


5. Our poem is a violet rascal, old chaps

It’s the poem of a half-effaced dragon about to copulate
Whose room cannot be found in the apartoffices of Topagaci
Marked with black lime on the gates of a rented city
As it squats on the poets

Sorry, but we are prematurely from Uskudar, old chaps

5. Şiirimiz mor külhanidir abiler

Topağacından aparthanlarda odası bulunamaz
Yarısı silinmiş bir ejderhanın düzüşüm üzre eylemde
Kiralık bir kentin giriş kapılarına kara kireçle
Şairlerin ümüğüne çökerken işaretlenmesinin şiiridir.

Ayıptır söylemesi vakitsiz Üsküdarlıyız abiler

6. Our poem is of the city, old chaps

When changing calendars you lose a day
A city up to the sea with its translators

How does one build a city white-washed in indigo blue and with
no steps, old chaps?

6. Şiirimiz kentten içeridir abiler

Takvimler değiştirilirken bir gün yitirilir
Bir kent ölümünün denizine kayar dragomanlarıyla

Düzayak çivit badanalı bir kent nasıl kurulur abiler?




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Turkey Red Redux

February 8, 2018, 8:44 am
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Dyeing Turkey Red at DATU (pictured) 

See also: Mavi Boncuk Turkey red posting
Mavi Boncuk |

The Turkish Cultural Foundation's[1] Cultural Heritage Preservation and Natural Dyes Laboratory succeeded in the rediscovery of Turkey Red (Türk Kırmızısı), a natural dyeing process lost for over 200 years.

A color/dyeing recipe invented by dyers in 16th century Ottoman Empire, Turkey Red, sometimes referred to as Edirne (Adrianople) Red (after the western border town of Edirne in Turkey), was a highly guarded trade secret handed from master dyer to apprentice. The technique was introduced to Europe in 1746 when two master dyers from Izmir were taken to France. From there, the technique spread to England where in 19th Century Glasgow six dyeing factories dyed textiles in Turkey Red.

With the spread of synthetic dyes and the diminishing application of natural dyes in the textile industry, the recipe for Turkey Red was lost. Despite many ongoing academic research projects worldwide, the recipe remained elusive.

TCF and ARMAGGAN partnered in an R&D project at the Cultural Heritage Preservation and Natural Dyes Laboratory to discover the recipe. The project included  extensive literature research, micro-analysis of historical samples and trials of the multiple dyeing steps. It took the research team led by Professor Recep Karadag over three years to establish the recipe of Turkey Red, which is now patented to the Turkish Cultural Foundation.

Turkey Red is created through a dyeing process of cotton fiber with dyes extracted from the root of Rubia tinctorum L. , a natural dye plant. The process includes nearly 40 dyeing steps with high coloring fastness and a special color tone. The dyeing requires a precise protocol of the application steps of the dye, which is a mixture of Rubia tinctorum L. madder dye and vegetable oil. 

"We regard the rediscovery and scientific documentation of Turkey Red as an important contribution to the preservation of our cultural heritage, as well as to science. The work on Turkey Red is one more important milestone in our long-standing efforts for the preservation and contemporary application of natural dyes. By perfecting natural dyes and making them fully usable in contemporary textile manufacturing and other consumer products, we aim to contribute to responsible productions that save our environment and protect human health," said Dr.Yalcin Ayasli, Founder and Chairman of the Turkish Cultural Foundation.

To read an interview published on the Turkey Red project, please visit here. (In Turkish)



[1] Founded in 2000 by Dr. Yalçın and Dr. Serpil Ayaslı, the Turkish Cultural Foundation is a U.S. tax-exempt public charitable organization with offices in Boston, Washington, D.C. and Istanbul, Turkey. Financed through a Trust established by the Ayaslı family and private donations, the mission of TCF is to support the preservation and promotion of Turkish culture and heritage worldwide.
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