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Turkey | Film Buyers at Berlinale Market

March 1, 2016, 9:22 am
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Mavi Boncuk |

Turkey
Ankara Cinema Association
Basak Emre Festival Director / Producer
Pinar Evrenosoglu Festival Programmer
Bir Film
Ersan Congar CEO
Tunc Sahin Head of Acquisitions
Calinos Films
Banu Ersoy Acquisitions & Sales Director
Chantier Films 
Metin Anter President
Fabula Films
Alkan Avcioglu VP, Acquisitions & Sales
Gizem Avcioglu Acquisitions & Sales Director
Engin Eryigit Acquisitions & Sales Executive
Filma Ltd.
Damla Durakcay Sales and Acquisitions Assistant
Sebnem Sahin Head of Sales & Acquisitions
Ece Petek Sungur Owner
Filmarti Film
Bulent Gunduz Head of Acquisitions
Filmdom Media
Cenk Yenici Owner
Filmmedya
Serdar Temeltas Managing Partner
Mars Production
Marsel Kalvo Managing Director
Ayca Ozen Head of Acquisitions & Sales
Match Point
Melis Konca Managing Director
Medyavizyon Gorsel Medya Prodüksiyon A.S
Fatih Oflaz CEO
The Moments Entertainment
Kemal Kaplanoglu Managing Partner
Mor Film Music Multimedia & Production Ltd. Sti.
Nurcan Güzel President
Moviebox
Evrim Ozkan Director of Sales & Acquisitions
Özen Film
Mehmet Soyarslan CEO
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TIFF Review | Baskin by Can Evrenol

March 1, 2016, 9:54 am
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 TIFF Review | Baskin by Can Evrenol

Mavi Boncuk |
Baskin |  Can Evrenol

Production companies: Mo Film, in association with XYZ Films
Cast: Gorkem Kasal, Ergun Kuyucu, Mehmet Cerrahoglu, Sabahattin Yakut, Mehmet Fatih Dokgoz, Muharrem Bayrak
Director: Can Evrenol
Screenwriters: Can Evrenol, Ercin Sadikoglu, Cem Ozuduru, Ogulcan Eren Akay
Executive producers: Todd Brown, Mike Hostench, Muge Buyuktalas
Director of photography: Alp Korfali
Production designer: Sila Karakaya
Costume designer: Sinan Saracoglu
Music: JF (Ulas Pakkan, Volkan Akaalp)
Editor: Erkan Ozekan
Casting: Fazli Korkmaz
Sales: The Salt Co.

No rating, 97 minutes.



The graveyard shift is hell for the five cops in Can Evrenol's first feature, Baskin, expanded from his 2013 short film, which represents a rare horror entry from Turkey, a country not known for genre production. While an ancient key is extracted from one character's slit throat late in the game, a key to the arcane story remains more stubbornly elusive. However, gore fans hungering for an old-fashioned orgiastic Black Mass will groove on the movie's grounding in the gruesome universes of Clive Barker, John Carpenter and Dario Argento. And who doesn't love seeing a credit for "tarantula wrangler?"

Despite four credited screenwriters, including Evrenol, the mysteriously titled Baskin is thin on story, instead lurching in and out of a woozy dreamscape before arriving at its extended terror and torture set piece in the bowels of an abandoned former police station supposedly dating back to Ottoman times.

The nightmare kicks off with a prologue in which young rookie cop Arda (Gorkem Kasal) is seen as a child having his first experience of a recurring dream that will haunt him into adulthood. Disturbed by the sounds of his mother having sex in her bedroom down the hall, he wanders the house in a suspended state between waking and sleep. He realizes he's not alone when a bloody hand attached to an unseen entity reaches for him.

Cut to a grimy diner serving dodgy meat delivered in a bucket by a druidlike figure in a hooded jute coat. Arda and his fellow night-shift cops — including police Chief Remzi (Ergun Kuyucu), who was appointed his guardian after the death of his parents — banter about soccer and sexual conquests until hothead Yavuz (Muharrem Bayrak) picks a fight with the waiter. One of the cops is taken ill, momentarily losing his wits while yacking up his dinner, but they shake it off and hit the road.

They respond to a call for backup at a possible crime scene in the middle of nowhere, but the journey is interrupted by the blur of a naked man dashing across the road and a collision with an unidentified creature that sends them careening into a creek. Plaguelike quantities of frogs, a radio and phone outage, a cluster of creepy gypsies and unexplained markings scratched into the paintwork of their van help knock some of the macho swagger out of them. When they get to the scene on foot, they find another cop car abandoned and, initially, no sign of the other officers.

Cutting back and forth between the scene of their investigation and the restaurant in a time-shuffling haze, Evrenol blurs the lines between nightmare and reality as Arda and Remzi discuss the long arm of death. There's a suggestion that this all may be part of some hellish vision in which Arda remains trapped.

But back in the wilderness, the first sign of a dazed cop banging his head against the wall is just a mild foretaste of what's to come in the labyrinthine underground chambers peopled with subhuman, cannibalistic freaks. Presiding over their sacrificial rituals is a sinewy human toad known as The Father (Mehmet Cerrahoglu), who looks like French actor Dominique Pinon on a very bad day and has a talent for imaginative bloodletting. Some of his meaty handiwork hangs on strings throughout the building, like a bizarre Martha Stewart carnage craft project.

Working with cinematographer Alp Korfali and production designer Sila Karakaya, Evrenol creates a densely soupy chiaroscuro visual field high on mood and atmospherics, amping up the dread with big-ass synth scoring by techno duo Ulas Pakkan and Volkan Akaalp, billed as JF. The textured look makes terrific use of unnerving tight close-ups on skin, hair, cloth and such details as the chief's fingers working overtime on his worry beads.

If their abrasive behavior in the early scenes doesn't invite much sympathy for the doomed cops, watching one of them get blinded and then forced to sodomize a goat-headed woman seems punishment enough. Oops, spoiler. That scene is also typical of a movie that offers little in the way of narrative involvement or scares but doesn't stint on sustained, stylized revulsion. While IFC Midnight no doubt will reach a few horror fanboys with a high tolerance for occult nonsense, the film will serve mainly to secure future genre assignments for Evrenol.

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Turkey's Bad Cat Şerafettin

March 2, 2016, 9:04 am
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Mavi Boncuk | 


Odin’s Eye Entertainment has acquired worldwide rights to “Bad Cat,” an adult animated adventure from Turkey’s Anima Istanbul.

The film is an adaptation of the comic book series of the same name by Bulent Ustun. The movie is directed by Mehmet Kurtulus and Ayse Unal. The story involves a sleazy, sexed up cat who discovers he is the father of a bastard son.

“Bad Cat is an altogether different kind of ‘Dirty Hairy’,” said Odin’s Eye director Michael Favelle. He is pitching the movie as Tarantino meets “Top Cat.” Director, Michael Favelle. “It’s a great addition to our expanding slate of high quality theatrical animation titles and initial buyer reaction to this glorious scoundrel of a character is extremely positive”.

“Bad Cat” is scheduled for completion in early Q1-2016 and was released theatrically in Turkey by UIP. Odin’s Eye screened a promo teaser in Cannes. 
   
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ACI Award | Most Improved European Airport is Istanbul

March 2, 2016, 9:47 am
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Mavi Boncuk |

Airports Council International (ACI) today announced the winners of the 2015 Airport Service Quality (ASQ) Awards. The world’s premier passenger service benchmarking programme for airports, ASQ delivered over 550,000 in-depth passenger surveys at over 300 airports across more than 80 countries worldwide last year. The 2015 results represent the world’s best in class airports where improving the customer experience is concerned—appraised by passengers while they are traveling and the experience is fresh in their minds. 
Most Improved Airport

Africa: Nairobi
Asia-Pacific: Denpasar
Europe: Istanbul
Latin America-Caribbean: Kingston
Middle East: Dammam
North America: Saskatoon

Istanbul's New Airport (Turkish: İstanbul Yeni Havalimanı), or Third Airport (Turkish: Üçüncü Havalimanı), is an international airport under construction in Arnavutköy district on the European side of Istanbul, Turkey. The airport is poised to be the largest airport in the world,[2] with a 200 million passenger annual capacity, and was planned due to lack of capacity in the existing airports of Istanbul.It will be the third international airport to be built in Istanbul; Istanbul Atatürk Airport will be closed down once the new airport is operational. 

The existing Atatürk Airport, on the European side of Istanbul, does not meet increasing demand, and there is an increasing problem of air traffic congestion. There is no space to build an additional runway, as the airport is absorbed within the city of Istanbul. Industrial areas are situated north of the airport, and residential areas west and east of it. Because of the limited capacity, the Turkish Airspace Authority does not allow additional cargo or charter flights to the airport. Airlines which want to start new routes and/or add additional flights cannot do so. Due to lack of slots and parking spaces, some of the Turkish Airlines' aircraft are based in Sabiha Gökçen Airport, which is on the Asian side of Istanbul. In 2014, Istanbul airports handled more than 80 million passengers.
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Old Days of Shared Rides from Kadikoy

March 2, 2016, 10:10 am
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Mavi Boncuk | Kadıköy-Üsküdar


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SİYAD 2015 Turkish Cinema Awards | 2015 Türkiye Sineması Ödülleri

March 3, 2016, 9:05 am
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Mavi Boncuk |

SİYAD 2015 Turkish Cinema Awards | 2015 Türkiye Sineması Ödülleri  

Best Film: Emin Alper (Abluka)
Best Director: Emin Alper (Abluka)
Best Screenplay: Emin Alper (Abluka)
Best Actor (Female): Esme Madra (Nefesim Kesilene Kadar)
Best Actor (Male): Nadir Sarıbacak (Sarmaşık)
Best Supporting Actor (Male): Özgür Emre Yıldırım (Sarmaşık)
Best Supporting Actor (Female): Şebnem Hassanisoughi (Bulantı)
Best Editing: Osman Bayraktaroğlu (Abluka)
Hope Award  'Ahmet Uluçay Cest First Film’: Emine Emel Balcı (Nefesim Kesilene Kadar)
Best Cinematographer: Andreas Sinanos (Rüzgarın Hatıraları)
Best Documentary: Hasret (Yearning) Ben Hopkins
Best Short Film: Ziya Demirel (Sali)
Best Music: Acarkan Özkan, Uran Apak, Erhan Seyran (Çekmeköy Underground)
Best Art Direction: Hüseyin Binay , Aslıhan Tiryaki (Çekmeceler)

See SİYAD  nominations Mavi Boncuk posting.
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Turkish Cinema Articles from Mavi Boncuk

March 3, 2016, 11:12 am
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Mavi Boncuk | 

Turkish Cinema Articles from Mavi Boncuk
July 25, 20014 - March 03, 2016
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EU Watch | On My Knees

March 3, 2016, 1:41 pm
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EU Watch | MAM Needs Help

March 4, 2016, 6:54 am
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Whole Genome Sequencing of Turkish Genomes

March 4, 2016, 7:09 am
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See also : There is No Unique TURKISH DNA by Janet Crain

Mavi Boncuk |

Whole genome sequencing of Turkish genomes reveals functional private alleles and impact of genetic interactions with Europe, Asia and Africa

Can Alkan, Pinar Kavak, Mehmet Somel, Omer Gokcumen, Serkan Ugurlu, Ceren Saygi, Elif Dal, Kuyas Bugra, Tunga Güngör, S Cenk Sahinalp, Nesrin Özören and Cemalettin Bekpen

BMC Genomics201415:963

DOI: 10.1186/1471-2164-15-963©  Alkan et al.; licensee BioMed Central Ltd. 2014
Received: 12 May 2014Accepted: 14 October 2014 Published: 7 November 2014

"... Our analyses show that genetic variation of the contemporary Turkish population is best described within the context of the Southern European/Mediterranean gene pool. However, we predict notable genetic sharing between Turkey’s population and East Asian and African populations. As expected from recent studies, rare and private genetic variation in Turkey has presumably more functional impact than variation shared among populations. We further identified SNPs that were previously associated with diseases that show allele frequency differentiation between Turkey and other Western European populations. Among these, those associated with pigmentation were at lower frequencies in Turkey than in Europe; meanwhile variants associated with total cholesterol levels were at higher levels in the former. Overall, our study improves the framework for population genomics studies in the region, and should incite novel genome-wide association studies in Turkey. Future studies using larger sample sizes will be able to elucidate population structure and history in more detail..." SOURCE
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Recommended | Languages of the World

March 4, 2016, 8:18 am
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Turkic languages 


Asya Pereltsvaig Linguist, Educator, Author

Mavi Boncuk | LINK

This site is a discussion forum dedicated by Asya Pereltsvaig to explore the rich diversity of human languages and the peoples who speak them. How does language make us humans what we are? How do we learn language and how do we navigate our multilingual world? 
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Sazanikos, the last Dönmeh

March 4, 2016, 9:31 am
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Mavi Boncuk |
Sazanikos, the last Dönmeh
Pays : France Année : 1992 Durée : 56' Type : Documentaire Couleur : Couleur Langue : Fr. Ang.

A 56' documentary directed in 1992 by Michèle Blumenthal, Michel Grosman
Michèle Blumental est journaliste indépendante et réalisatrice de documentaires. 

In the 17th century, when biblical religions for announcing the Apocalypse
1666, the Ottoman Empire was shaken by a young 20 years old rabbi who 
proclaimed him as the Messiah and caused a serious religious earthquake. Sabbati Zevi[1] is arrested, imprisoned but thousands of devotees come to his view throughout Europe. Threatened with a death sentence, he will eventually
convert to Islam, proclaiming: "mosque, church or synagogue, no matter
since God is dead. " Following his example his disciples were converted. But
300 years since the rumor they attribute a "double face": Muslims in
appearance, but hidden Jews. In fact, it is mainly a living community
between two cultures, two civilizations.

The film sets out to meet the descendants of Sabbatai in Turkey
modern. It talks about religion, secularism, identity ...

Au 17e siècle, alors que les religions bibliques annoncent l’Apocalypse pour 1666, l’Empire Ottoman est ébranlé par un jeune rabbin de 20 ans qui se proclame le Messie et provoque un véritable séisme religieux. Sabbatï Zevi est arrêté, emprisonné mais des milliers de fidèles viennent le consulter de l’Europe entière. Menacé d’une condamnation à mort, il finira par se
convertir à l’Islam en proclamant: « Mosquée, église ou synagogue, peu importe puisque Dieu est mort ». A son exemple ses disciples se convertissent. Mais depuis 300 ans la rumeur leur attribut une « double face »: musulmans en apparence, mais juifs cachés. En fait, c’est surtout une communauté qui vit entre deux cultures, entre deux civilisations. Le film part à la rencontre des descendants de Sabbataï dans la Turquie moderne. On y parle religion, laïcité, identité…

See also: Remembering to Forget: Sabbateanism, National Identity, and Subjectivity in Turkey LEYLA NEYZI Sabancı University 


[1] Recently the international media and academia have paid significant attention to the remains of a three-storey structure in Izmir, Turkey. The cause of all this interest is that the derelict building, located in the city's former Jewish quarter in the Kemeraltı neighbourhood, was thought by many to be the birthplace of Sabbatai Sevi (1626–1676). This building has been one of the central “memory” sites for the “open secret” Donme beliefs and practices. The discussion has, by and large, revolved around three major questions: (a) whether or not the house was indeed Sevi's family residence; (b) whether or not the site has served as an actual place of residence or pilgrimage in the intervening centuries; and (c) assuming that the building is indeed proven to have belonged to Sevi, how should it be understood and valued? This article claims that the building was indeed one of the houses in which Sabbatai Sevi lived, and that it has been subsequently used by his followers and sympathizers, who transformed it into a lieu de mémoire, a site of memory, as Pierre Nora would put it. 

Source: Journal of Modern Jewish Studies Volume 11, Issue 1, 2012 by Cengiz Şişman

Professor Cengiz Şişman majored in Psychology at Bogazici University in Istanbul and earned his M.A. in Islamic and Jewish Studies at Temple University. He earned another M.A. in History and Middle Eastern Studies at Harvard University, where he also completed his dissertation, entitled “A Jewish Messiah in the Ottoman Court: Sabbatai Sevi and the Emergence of a Judeo-Islamic Community (1666-1720).” During his doctoral research, Sisman spent a year at Hebrew University as a special student. After receiving his Ph.D, he returned to Turkey to teach at Bogazici, Koc, and Bilkent Universities. He later returned to the United States as a post-doc fellow at Harvard University and became a visiting Assistant Professor at Brandeis University. Since 2009, Sisman has been serving as Assistant Professor of History at Furman University. During his sabbatical in 2012-2013, Sisman completed his book manuscript on the Sabbatean movement and its aftermath and worked on American missionary activities in the nineteenth-century Middle East as a visiting fellow at Bogazici, Koc, and Oxford universities respectively. His work is connected by his deep interest in the history of religions, religious conversion, irreligion, messianism, mysticism, crypto-double identities, and religion and modernity. 

 INTERVIEW: Cengiz Şişman on the Dönmes’ 350-year ‘burden of silence’

The Burden of Silence is the first monograph on Sabbateanism, an early modern Ottoman-Jewish messianic movement, tracing it from its beginnings during the seventeenth century up to the present day. Initiated by the Jewish rabbi Sabbatai Sevi, the movement combined Jewish, Islamic, and Christian religious and social elements and became a transnational phenomenon, spreading througout Afro-Euroasia. When Ottoman authorities forced Sevi to convert to Islam in 1666, his followers formed messianic crypto-Judeo-Islamic sects, Dönmes, which played an important role in the modernization and secularization of Ottoman and Turkish society and, by extension, Middle Eastern society as a whole. Using Ottoman, Jewish, and European sources, Sisman examines the dissemination and evolution of Sabbeateanism in engagement with broader topics such as global histories, messianism, mysticism, conversion, crypto-identities, modernity, nationalism, and memory. By using flexible and multiple identities to stymie external interference, the crypto-Jewish Dönmes were able to survive despite persecution from Ottoman authorities, internalizing the Kabbalistic principle of a "burden of silence" according to which believers keep their secret on pain of spiritual and material punishment, in order to sustain their overtly Muslim and covertly Jewish identities. Although Dönmes have been increasingly abandoning their religious identities and embracing (and enhancing) secularism, individualism, and other modern ideas in the Ottoman Empire and modern Turkey since the nineteenth century, Sisman asserts that, throughout this entire period, religious and cultural Dönmes continued to adopt the "burden of silence" in order to cope with the challenges of messianism, modernity, and memory.
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Article | Coffee, That Ineluctable Shot of Life

March 7, 2016, 10:51 am
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RECOMMENDED Essentialist Magazine sets out to capture the heart and essence of human experience, taking a personal and subjective approach to food, design, art and culture. Our writers come from a variety of disciplines and professional backgrounds, and each bring a unique perspective to our subject matter. Rather than establishing a specific criteria by which to judge the world around us, we go deeper into just what makes our individual experiences special and impactful, and hope that through this, we can inspire our readership to observe their own lives and sacred places from new angles and dimensions. 

Mavi Boncuk |

SEE ALSO: ISTANBUL | Petra Roasting Co |by Madeline Reidy 
 After studying business in Boston and working at Toby’s Estate in NYC, Bergsen returned to his native Istanbul to start Petra roasting company, helping to usher in Turkey’s new wave of specialty coffee.


ARTICLEThat Ineluctable Shot of LifeSOURCE

by W.S. Chahanovich

W.S. Chahanovich is an itinerant typist with a penchant for snarky novels and full-bodied Italian red wines. When he is not recovering from surviving Gothic New England winters, he is quaffing good coffee from various ports around the Mediterranean basin. Otherwise, in another dimension, he is writing his Ph.D. on classical Arabic literature. 

Between the wallpaper and the coffee steam brewing behind the counter, how did we first cultivate this essential aspect of our lives?
The coffee bean has come a long way from its humble beginnings in Ethiopia and Yemen, but seldom does the average bibulous caffeine freak ponder its origins.   Whether it is a “cup o’ joe” enjoyed in a cream-colored breakfast nook, an espresso del pomeriggio knocked back in a local bar tucked behind the Duomo, or a frothy finjan slowly sipped at the wharf while waiting for the next Bosporus ferry, around the world we all spend a lot of time drinking coffee.   It seems, therefore, all the more pertinent in our first issue, “Idle Days,” to delve into the origins of one of the world’s favorite ways to savor those rare and precious pauses in the day.

STRAIGHT SHOT: AND GOD CREATED THE COFFEE…SEED?

Most of us have, no doubt, confronted the ubiquitous images of coffee plants and roasted "beans," probably while standing in line at Starbucks or a similar international coffeehouse. These pictures have become so redundant in the mass marketing of coffee that we perhaps no longer take them to represent even a modicum of truth.  We might have even come to believe it is all a charade to make us feel "the source" of our coffee. It is something akin to a caffeine-freak’s Truman Show, an artificial reality in which we intake some marketing department’s construction of a seamless, romantic safari that leads us from the verdant farms of Colombia to our coveted moment of consumption in a clattering coffee shop. At that moment, we might just have realized the disconnect between marketing and making coffee. But it isn’t all that bad.  One positive aspect of these mass produced sylvan wall-hangings is that we have at least come into contact with a visual representation of the plant that produces the very fruits of our early morning libation. Some terms need to be quickly clarified, however, before going on such an excursion. 

Ensconced in the crimson berries of the Coffea plant (genus Coffea, family Rubiaceae), the coffee "bean" is actually not a bean at all but, rather, a seed. Even more exact: they are two seeds in one fleshy pod. Hence, the cure to all one’s soporific woes starts out as a zygotic pit. There exist several major species today—e.g. Coffea canephora, Coffea liberica, Coffea charrieriana—the most famous, perhaps, in contemporary consumers’ minds being Coffea arabica and its myriad sub-varieties. According to their website, the 120-year-old Italian coffee company Lavazza proudly asserts that it uses “100% Arabica” in all its products. In addition, our common conceptions of coffee seeds as being as black as our beloved early-morning brew is also erroneous. The brown or black shade we give our early morning productivity—or late-night labor—is really the result of a roasting process.  The coffee bean, in its raw form, is actually green.

Yet between the wallpaper and the coffee steam brewing behind the counter, how did we first cultivate this essential aspect of our lives? The first coffeehouse in Europe opened in Venice circa 1629 and, shortly after that, in London in 1652. It should come as no surprise that Venetians embraced the introduction of coffee first, but it was not because they intrinsically possessed some sense of caffeinated panache. Northern Italians first enjoyed coffee only because they enjoyed the most intimate trade relations with another entity that played a profound role in the formation of European identity and history, albeit from the outside: the Turkish Ottoman Empire. This mammoth of a historical dynasty is one of the longest running reigns in all of history and, thanks exclusively to their relatively pacific trade relations with the Doge and Co., European capitals and salons, kings and commoners came to know the drink of the coffea seed. 

CAFFEINATE THE CASBAH: A UNIQUELY ISLAMIC DRINK

Ethiopia is generally identified as the region from where the first coffee seeds were imported, across the Red Sea to Yemen. Folktales describe some serendipitous event of an Abyssinian peasant tending to his flock as his donkey—or in other versions, his flock—started to behave jittery. Upon further inspection, this inquisitive shepherd recognized that his four-legged friends only ever started kicking and frolicking about after nibbling on a benign and unassuming bush with bright-red berries: the coffee plant. This, of course, is nothing more than a quaint fiction to narrate the history of coffee, but it hardly amounts to a shred of verifiable, or for that matter relevant, data. Greater detail, however, can in fact be provided once the Ethiopian crops reach the Arabo-Islamic world. Arab chroniclers, our most reliable sources, concede as much. Even the 17th century Ottoman historian and geographer Kâtip Çelebi made the observation:

This matter [i.e. the origin of the introduction of coffee] was much disputed in the old days. It originated in Yemen and has spread, like tobacco all over the world. Certain sheykhs, who lived with their dervishes in the mountains of Yemen, used to crush and eat the berries, which they called qalb wabun, of a certain tree. Some would roast and drink their water. (1) 

Organic origins are, perhaps, not as important as the clear indication that the coffee seed clearly entered the Islamic world via Arabia Felix: Yemen. At the turn of the 15th century (2), Yemeni Sufis began using the boiled seeds in nightly liturgical vigils called dhikr, which translates to “remembrance” or “recollection.” The coffee seed first found its way to the Islamic world via mystical channels (3). Early modern history, as Harvard Professor of Ottoman History Cemal Kafadar notes, stands out as an age of revolutionary transformations, both social and economic. One of these transformations was the advent of “new regimes of temporality that redefined the spheres of work and leisure” (4). Precisely because Sufis already practiced “night-time vigils and symposia”, it should come as no surprise, then, that they, “played a pioneering role in colonizing the night and redesigning the architecture of the nocturnal and the diurnal” by introducing the coffee bean into Islamic religious practice (5). The berry of the Coffea shrub or tree, due to its affiliation with Islamic religious orders, subsequently made its way to the heartland of Islamic piety, the Hijaz (now in modern-day Saudi Arabia) by the second-half of the 15th century (6). Coffee shops were shortly thereafter recorded as selling the seeds in Damascus and Cairo in the early 1500s and later in Istanbul by the mid-1500s. Testimony of the stimulant seed arriving in Istanbul is attested in the will of Barbaros Hayreddin Pasha (1473-1546), having bequeathed a kahve odası, a coffee chamber, to his descendants and thereby documenting for us one of the earliest sources for a pre-modern coffee nook. It only took some adventurous Europeans, especially Venetians, who dared to sample the Turks’ dark brew, to begin the spread of coffee into Italy. 

The reception of coffee was not, however, without its detractors. Kâtip Çelebi, the Ottoman historian cited above, relates that the introduction of the coffee seed and its culture of collective late-night imbibition stirred the ire of the Islamic religious community.  The reasons given are several. First, the dark brew was consumed in gatherings. This not only gave off an air of “loose living,” as Çelebi notes (7), but it also extended one’s activity into the night, which was associated with secretiveness and, potentially, salacious activity.  Constantinople hardly lacked in both, and religious scholars were not ignorant of what transpired in all-male gatherings (8).

The mayhane (wine house) and bozahane (boza drink house)—boza being a fermented winter drink made of wheat durum, sugar, roasted chick peas, and cinnamon that contains a small amount of alcohol—appeared all too similar to the kahvehane (coffeehouse) ambiance. Evidently, the image of a Sufi slurping boiled coffee seeds was no longer the first association that came to mind after it arrived in Constantinople; coffee enjoyment ceased to serve as an innocent religious pastime. Stripped of its exclusive association with nighttime liturgical vigils, coffee appeared to only make run of the mill Muslims far too perky and inclined to perambulate at night—and the coffeehouse became a den of unseemly, excessive socialization. Wine and boza séances shared similar traits, their addicts equally driven to nocturnal perambulating. It is, therefore, no surprise why the Arabic term qahwah—which was a synonym for khamr (wine) and from which we derive the words coffee, caffè, café, and Kaffee—came to be applied to boiled bunn, the technical term for the roasted and crushed seeds. In a way, I guess coffee is still just an acceptable substitute for the afternoon pint or sifter of brandy. 

More correctly, the problem that authorities had in regards to the newly founded institution of the coffee house perhaps had less to do with religious laws than it did with the potential of these late night gatherings to engender new forms of political and social action, ranging from idle chatter and debate to organized resistance (9). Such machinations one could hardly expect from the alcohol-addled minds of wine addicts. Approximately four decades after the opening of the first coffeehouse in Constantinople (1551), this unique quality of coffee caught the attention of the Ottoman Sultan Murad III, who ordered his Grand Vizier Koca Sinan Paşa to have all mayhane, bozahane, and kahvehane closed.  Arguably, the Sultan chose now, of all times, to close these institutions precisely because coffeehouses were a novelty, and change is, as humanity systematically demonstrates, something wary in the eyes of authority. When we drink coffee today, it is usually just to get our brains somewhat charged, not to plot political riots or engage in salacious activities. In contrast, the average Ottomans, in the eyes of their overlords, were already seditiously too thoughtful when they put their lips to the cup. Perhaps we too should be so politically perky before we grab the next espresso. How would politics today play out if politicians constantly feared of the next pull of a ristretto?

Another aspect to consider is how the business of coffee reflected several fundamental changes in social dynamics. Mustafa ‘Ali (d. 1600), an Ottoman bureaucrat and historian, remarked that the emergence of coffeehouses were indicative of three major social changes: a rising middle class, changing standards of leisure, and the democratization of socialization (10). The lowly coffee seed from Ethiopia had transcended its initial mystic associations and become both a religiously questionable and socially revolutionary product. After all, as Kâtip Çelebi again observes, giving us an insight into contemporary opinions: “One coffee house was opened after another and men would gather together, with great eagerness and enthusiasm, to drink. Drug-addicts in particular, finding it a life-giving thing, which increased their pleasure, were willing to die for a cup (11).”

GIVING INTO THE TEMPTATION

In the end, Koca Sinan Paşa did not succeed in closing down the coffeehouses forever and the rising middle-class in 16th and 17th century Constantinople continued to get their daily rush of caffeine. People trading in, serving, and drinking the stimulating coffee seed’s brew crossed numerous layers and circles of society. Coffee was the new hot ticket on the market, such that even outsiders took note. For example, the Augsburg physician Leonhart Rauwolf (d. 1596) observed the following in his Journey to the Lands of the Orient (1582): 

Among other things the Turks have a good drink which they greatly esteem. They call it ‘chaube’: it is nearly as black as ink and helpful against stomach complaints. They drink it from earthenware and porcelain cups early in the morning, also in public places without any hesitation. But they take only small sips of it and then pass these cups around, for they are seated next to each other in a circle. To the water they add a berry the natives call ‘bunnu’ which, but for its size and color, resembles bay tree berries surrounded by to thin hull. (12)

Similarly, by the 18th century the communal attraction of the coffee bean and its juice had crossed into all aspects of Ottoman society:

Coffee shops were frequented by the dervishes, by the intellectual circles who went there to talk and drink coffee, and by the poor who, having nowhere else to go on a limited budget, went there all the time. The janissaries and the sipahis (Ottoman cavalry) were to be found there from morning to night, gossiping away in every corner, and there were those who played backgammon and chess or who gambled for money. (13)

Europeans found it difficult to adjust to the new fad once it reached their cultural shores. Women in England, for example, claimed that it caused impotence in men. Exactly how much activity 17th and 18th century British bedchambers witnessed before and after the introduction of coffee remains a mystery. Yet it is clear that the science of the humors inspired this misapprehension: coffee was a dessicant and, seeing as men were already dry enough physiologically, the drink exacerbated the matter and, consequently, made them excessively dry in more ways than one. Women were not necessarily keen on drinking coffee either, but, given that the science of humors deduced that female anatomy is all too damp, a little cup o’ joe every now and then might be just the right thing to balance out the nasty nature of the gentler sex. 

It is a much longer story to describe the myriad lives coffee had in early modern Europe, and perhaps that tale can be saved for another day. But at least now, the next time we have a mug with our mates or a tazza with our colleghi, we might toss one back for the obstreperous Turks who just could not get enough of that bubbling buzz.

(1) Chelebi, Haci Halifa Kātib. The Balance of Truth. Trans. G.L. Lewis. London: George Allen and Unwin, Ltd., 1957, p. 60.
(2) Kafadar, “How Dark is the History,” 246. Cf. Hattox, Coffee and Coffeehouses, p. 11. Hattox gives a general date as sometime in the mid-15th century.
(3) The details of the coffee seed’s introduction to Yemen are open to doubt. See Hattox, ibid., pp. 14-26. 
(4) Kafadar, ibid., p. 244. 
(5) idem., p. 246.
(6) Hattox, ibid., p. 27. Hattox cites Faḫr al-Dīn b. Abī Yazīd al-Makkī: “And as for us, qishr reached us in Rey in Mecca and other places twenty or more years ago, but qahwa made from it did not spread until the end of the ninth [fifteenth] century.”
(7) Chelebi, Balance of Truth, p. 60.
(8) For an informative article on 16th century Ottoman legal tractates and judicial practices vis-à-vis prostitution, see Baldwin, James E. “Prostitution, Islamic Law and Ottoman Societies.” Journal of Economic and Social History of the Orient 55 (2012): 117-152. Two very informative readings on homoeroticism/pederasty in Ottoman society, see El Rouayheb, Khaled. Before Homosexuality in the Arab-Islamic World, 1500-1800. Chicago: University of Chicago Press, 2005; Ze’evi, Dror. Producing Desire: Changing Sexual Discourse in the Ottoman Middle East, 1500-1900. Berkeley: UC Press, 2006. 
(9) Kafadar, ibid., p. 252.
(10) idem., p. 251. 
(11) Chelebi, ibid., p. 60.
(12) qtd. in Schivelbusch, Wolfgan. Tastes of Paradise. Trans. David Jacobson. New York: Vintage Books, 1992, p. 15.
(13) Boyar, Ebru and Fleet, Kate. A Social History of Ottoman Istanbul. Cambridge: Cambridge UP, 2010, p. 193. Cf. Gelibolulu Mustafa Ali, Mevâʾidüʾn-nefâʾis fî kavâʻidiʾl-mecâlis, pp. 363-4.
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Multi Talented Monsieur Loti

March 10, 2016, 8:23 am
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Mavi Boncuk | Bruno Vercier and Alain Quella-Villéger.


Alain Quella-Villéger, l'agrégé d'histoire rochefortais désormais poitevin, a sorti en fin d'année dernière « Évadées du harem », chez André Versailles éditeur. Ce roman raconte la condition féminine en Islam et Loti n'est jamais loin, évidemment.

Bruno Vercier, professeur d'université en littérature contemporaine, publie, quant à lui, un essai intitulé « Pierre Loti d'enfance et d'ailleurs », chez Bleu autour. À partir des dessins réalisés par le jeune Julien Viaud, Bruno Vercier aborde l'enfance du futur écrivain. À lui seul, ce petit bouquin donne les clefs pour comprendre l'œuvre de Loti, sa maison et l'homme. « C'est un peu mon "Loti, mode d'emploi", plaisante l'auteur.

Après l'enfance, la photo
Ces dessins inédits sont à replacer dans l'ensemble de l'œuvre de Loti car ils annoncent déjà l'écrivain, le dessinateur, l'architecte, le voyageur ou encore le pianiste et le photographe.

Enfin, le duo poursuit la publication, commencée en 2006, du journal intime de Pierre Loti, toujours inédit, intégral, scientifique et critique (éditions Indes savantes, collection Rivages des Xantons). On en est au tome III, allant de 1887 à 1895. Dans cette période charnière de la vie de Loti, il est reçu à l'Académie ; il découvre le Pays Basque ; il voyage toujours à Istanbul, au Maroc, en Terre Sainte et au Liban ; enfin, grâce à l'argent qu'il tire de la vente de ses livres puisque c'est le début de la consécration, il commence à transformer sa maison. « C'est le vrai roman de Loti », selon les deux auteurs. Et comme leur passion n'a pas de limite, Vercier et Quella préparent pour la fin de l'année, chez Bleu autour, un « Pierre Loti photographe ».

(1) Bruno Vercier en est le président.

Alain Quella-Villéger, Associate of Rochefort history now Poitevin, released late last year "escaped from the harem" in Versailles André editor. This novel tells the status of women in Islam and Loti is never far away, of course.
Bruno Vercier, a university professor in contemporary literature, publishes, meanwhile, an essay entitled "Pierre Loti childhood and beyond" in Bleu autour. From drawings by the young Julien Viaud, Bruno Vercier tackles childhood the future writer. By itself, this little book gives the keys to understanding the piece Loti, his house and man. "It's kind of my" Loti, operating manual, "jokes the author.

After childhood photography

These original drawings should be seen in the whole of the piece ?? Loti as they herald the writer, the artist, the architect, the traveler or the pianist and photographer.
Finally, the duo continues the publication began in 2006 diary of Pierre Loti, still unpublished, full, scientific and critical (scholarly editions Indes savantes collection of Rivages des Xantons). It is the third volume, from 1887 to 1895. In this pivotal period in the life of Loti, he was admitted to the Academy; he discovered the Basque Country; he always travels to Istanbul, Morocco, Lebanon and the Holy Land; Finally, thanks to the money he received for the sale of his books since it is the beginning of the consecration, he began to transform his house. "This is the real novel of Loti," according to the two authors. And as their passion has no limits, Vercier and Quella  prepare for the end of the year, at Bleu autour, a "photographer Pierre Loti".






(1) Bruno Vercier is president.
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Turkevi Center in NYC Rises to New Heights

March 10, 2016, 12:59 pm
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After more than three years on the drawing board, the replacement tower for Turkey’s Consulate General and Permanent Mission to the United States at 821 First Avenue is finally moving forward. First announced in 2012, the proposed project, known as the Turkevi Center, has commissioned Perkins Eastman as the architects of record. The building will house new offices for the consulate, and diplomatic residences for permanent staff and visitors above. Architecture firm Chelsea Atelier prepared a conceptual competition design for the project that envisioned a dynamic green-glass tower that complemented the iconic United Nations Secretariat Building across First Avenue. Its swooping curves and a crown of geometric filigree evoke Islamic themes and Turkish art and culture. The tower programmed the 17 lower levels for consulate offices and a restaurant, while the upper stories contain residential apartments topped by several tiers of terraces.



Mavi Boncuk |
Construction on the Turkevi Center, a 32-story consulate and mission tower for the Republic of Turkey, will begin later this year in Manhattan’s Turtle Bay, a Midtown East neighborhood near the United Nations.


The 200,000-square-foot glass tower will be located at 821 United Nations Plaza at the corner of First Avenue and East 46th Street, known in New York City as “Consulate Row” because of its large number of foreign missions and other diplomatic offices. In the planning stages since late 2012, the building is expected to be completed in 2018, according to Perkins Eastman, the New York-based international design and architecture firm that is designing the tower. The current 12-story Turkish Center and other nearby buildings will be demolished for the new structure. The construction schedule supplied by the Consulate last year calls for construction to start in July 2016 and be completed by November 2018.

The firm released renderings of its design of the building that will stand 32 stories over First Avenue. The glass tower’s curving façade was inspired by the Turkish crescent. It will feature loggias along the upper floors on the south and east sides and be stacked atop a podium wrapped in perforated metal paneling. The podium’s roof will have a public terrace with views of the East River and Downtown Manhattan.

“When it’s completed, the Turkevi Center will be a true cultural beacon for the Republic of Turkey and its visiting citizens, as well as a grand addition to the New York skyline,” Perkins Eastman Principal Jonathan Stark said in a prepared statement.

The building, which is targeting LEED Silver certification, will have residences along with government and diplomatic uses. It will include a passport and visa branch office, lounges, kitchen, reception area, conference rooms, multi-purpose prayer room, fitness center, auditorium and underground parking garage.

Joining Stark on the design team are Perkins Eastman Principal Michael Lew, Design Principal Gilles Le Gorrec and Senior Associate Tadeusz (T) Rajwer. Ercüment Gümrük of Dizayn Grup in Istanbul is the Turkish design consultant.

In December 2012, Cresa, a leading tenant representation firm, was selected as the project manager for the development.

Levent Bilgen, Turkish Consul General in New York, said at the time that the Cresa team had “demonstrated a unique collaborative culture and understanding of Turkey’s long-term goal to create an iconic diplomatic presence in New York City.”
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Sadik Esener to Lead Knight Cancer Institute

March 10, 2016, 1:25 pm
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After scouring the country and even searching abroad, Oregon Health & Science University has found a scientist to lead its billion-dollar cancer research center. Sadik Esener is not an oncologist, biologist or epidemiologist. Rather, he's a nanoengineer who spent the first part of his career studying the use of optics to solve computer communication problems.

"We think people will be a bit surprised (by the choice) and that's OK," said Dr. Brian Druker, director of the Knight Cancer Institute. "This sends a powerful message that we've looked outside our own ranks because we think things have to be done differently." The center will focus on detecting cancers early, when they're most treatable, and differentiating between lethal and nonlethal tumors. Though other academic medical institutions are focused on early detection, OHSU's center will be the largest of its kind, thanks to a $500 million challenge grant from Nike's co-founder Phil Knight.

Mavi Boncuk | 

Sadik Esener, Ph.D., will help launch the OHSU Knight Cancer Institute’s recruitment of 20 to 30 top scientists and their research teams 

A scientific innovator, whose achievements range from developing diagnostic biochips to creating nanoscale cancer-fighting “smart bullets” that deliver treatments to tumor cells, has been recruited to the OHSU Knight Cancer Institute to lead the first large-scale early cancer detection program of its kind.

Sadik Esener, Ph.D., will direct the institute’s Center for Early Detection Research and has been awarded the Wendt Family Endowed Chair in Early Cancer Detection. He has an extensive background in bringing together scientists and technology across disciplines to provide compelling solutions to previously unsolved challenges in biomedicine. He has a strong track record in innovation; technology he developed launched many start-up companies, including five from his labs in Southern California.

A professor of nanoengineering as well as electrical and computer engineering at the Jacobs School of Engineering at the University of California San Diego, Esener served as director and principal investigator of several centers of excellence in the areas of photonics and cancer nanotechnologies. Most recently, he led the Cancer Nanotechnology Center of Excellence, funded by the National Cancer Institute, at UCSD’s Moores Cancer Center to explore ways to use nanoscale devices to detect and target cancerous tumors.

Esener’s recruitment comes just months after OHSU’s successful completion of the $1 billion Knight Cancer Challenge from Nike co-founder Phil Knight and his wife, Penny. The appointment signals the launch of an ambitious plan to build upon the OHSU Knight Cancer Institute’s pioneering work in precision cancer medicine with a program that will fill one of the biggest unmet needs in cancer treatment today: detecting lethal cancers when they are most treatable.
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Riga 2016 | Gold for Yasemin and Soner

March 10, 2016, 1:52 pm
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Yasemin Adar of Turkey celebrates with the Turkish flag winning the 75 kg category final match at the Wrestling European Championships in Riga, Latvia, on March 10, 2016.


Mavi Boncuk |

Two Turkish wrestlers claimed gold medals at the 2016 European Wrestling Championship being held in Riga, Latvia on Thursday.

Yasemin Adar won a gold medal in the women's 75-kg division after beating her Russian rival Alena Starodubtseva 7-0, becoming the first Turkish woman wrestler winning a gold medal at the European Wrestling Championship.

Turkey's Soner Demirtaş also claimed a gold medal in the men's 74-kg freestyle division as he enjoyed a narrow 2-1 victory against Azerbaijani wrestler Cebrail Hasanov.
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DCIFF Award for The Eye of Istanbul

March 14, 2016, 12:17 pm
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Mavi Boncuk |The Eye of Istanbul[1] produced by Ümran Safter won the best of fest award at the Washington DC Independent Film Festival[2] 2016.

The “Eye of Istanbul” tells the story of Güler in conjunction with the preparatory stages of a retrospective exhibition of his in Istanbul. The documentary follows a non-linear narrative and explores the artistic process and the impulses that lead to his works of art. Güler’s curiosity, resourcefulness and fearlessness - all of which play a part in making him who he is - are showcased through a series of stories in the film.

The core team members behind the film are co-directors Binnur Karaevli and Fatih Kaymak, Director of Photography Zafer Bir, Script Writer Ahsen Diner, Editor Engin Yıldız, Composer Derya Türkan and Project Consultant Nezih Tavlas.

“The Eye of Istanbul,” has become a finalist at the 18th Thessaloniki Documentary Festival – Images of the 21st Century, to be held from 11 to 20 March 2016.

[1] Directed by Binnur Karaevli and Fatih Kaymak (Turkey/2015/61mins) 
World Premiere 

THE EYE OF ISTANBUL tells the story of Ara Güler, the legendary Armenian-Turkish photographer and the culmination of his retrospective exhibition in Istanbul. The documentary follows a non-linear narrative, which explores the artistic process and impulses of this great master. Ara’s curiosity, resourcefulness, and fearlessness are revealed through a series of stories in the film. At 87 years old, Ara is a complex and unforgettable character. He is still sharp, irreverent, funny and philosophical. Although he is mostly recognized for his black and white photographs of Istanbul, he has enjoyed an international career, which has spanned over sixty years and has generated more than one million photographs. 

The film follows Ara Güler as he prepares for his retrospective exhibition where he assembles his photographs and the stories behind his most iconic images spring to life. From the poor workers of Istanbul to the goat herders of Anatolia to the Israeli/Palestinian conflicts, Ara has captured the essence of the second half of the 20th century. Ara thinks of himself not as a photographer but a historian who has captured the lives of people and major historical events since the 1950s.

[2] DCIFF was launched in 1999 to nurture independent film. As a competitive festival, all films are Washington DC premieres and many are U.S. and world premieres. As the oldest independent film festival in Washington, the DC Independent Film Festival has a storied history of presenting extraordinary films. We have showcased cutting edge features, shorts and documentaries on every subject from every country with every budget and subject imaginable.
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Buğday | Grain by Semih Kaplanoğlu

March 14, 2016, 1:00 pm
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Johannes Rexin (Heimatfilm), Christina Bentlage (Film- und Medienstiftung NRW), Semih Kaplanoğlu (Regie),Jean-Marc Barr and Nadir Öperli (Kaplan Film) during filming in Germany.


Mavi Boncuk |

Filmed in English and black and white, Buğday | Grain[1] is an upcoming German/Turkish/French science fiction film written and directed by Semih Kaplanoğlu[2]. 

The film is set in an indefinite near future, where the existence of sustainable life is threatened. Together, a genetics expert and a general chaos scientist join forces in the Dead Lands to find fresh seeds, changing everything they thought they knew in the process. Mainly filmed in Central Turkey, Cappadocia and Germany part of the film was also shot in Detroit, Michigan.[3]

The main role of Erol Erin was played by the French-American actor Jean-Marc Barr, Cemil Akman played by Ermin Bravo from Bosnia-Herzegovina. The international cast also includes, among others Grigory Dobrygin ("A most Wanted Man") from Russia and Lubna Azabal from Belgium. Semih Kaplanoğlu (born 1963) is a Turkish playwright, film director and producer.

[1] GRAIN
Semih Kaplanoglu’s first feature since Berlinale winner BAL | HONEY.

Script & Director: Semih Kaplanoğlu
D.o.P.: Giles Nuttgens
Sound: Jörg Kidrowski
Art Direction: Naz Erayda
Costume Design: Esin Nazli Cinar
Editor: Ayhan Ergürsel & S. Hande Güneri

Production:
Heimatfilm, Johannes Rexin
Kaplan Film, Semih Kaplanoglu, Nadir Öperli
Sophie DuLac, Michel Zana
The Chimney Pot, Fredrik Zander

Cast: Jean-Marc Barr (Erol Erin), Ermin Bravo (Cemil Akman), Grigory Dobrygin, Lubna Azabal

World Sales: www.the-match-factory.com
Distributor: www.pifflmedien.de

In co-production with ZDF/Arte. Supported by Film- und Medienstiftung Nordrhein-Westfalen, Medienboard Berlin-Brandenburg, Deutscher Filmförderfond and Eurimages, among others.


[2] Kaplanoğlu was born in İzmir, Turkey.[1] He graduated from the Faculty of Fine Arts of Dokuz Eylül University with a degree in Cinema and Television. In 1984, Kaplanoğlu moved to Istanbul and worked for a couple of years as a copywriter for advertising companies like Güzel Sanatlar Saatchi & Saatchi and Young & Rubicam.[1]
He switched over to cinema in 1986 to become an assistant cameraman for two award-winning documentary films. In 1994 Kaplanoğlu wrote the script and directed a television series Şehnaz Tango with 52 episodes which was aired on TV channels Show TV and InterStar and became successful.

Besides his main pursuits in cinema, Semih Kaplanoğlu wrote articles between 1987 and 2003 on plastic arts and cinema which were published on arts periodicals and translated into foreign languages. In the years from 1996 through 2000, he had a column named "Karşılaşmalar" in the daily newspaper Radikal.

The first film he directed Herkes Kendi Evinde (Away From Home, 2001) won many awards participating in international film festivals. Kaplanoğlu's second feature film Meleğin Düşüşü (Angel's Fall) premiered at the 2006 Berlin International Film Festival and found wide interest by international film critics and audience.

He founded his own film production company Kaplan Film. Its first feature film Egg in 2007 was a co-production with Greece. Then Süt (Milk) was released in 2008 and Bal (Honey) was produced in 2010. The three films Egg, Milk and Honey form a trilogy called Yusuf Üçlemesi (Yusuf's Trilogy), named after the main character Yusuf in the films.
His 2007 film Yumurta (Egg) brought many international awards for best film, best director, best screenplay and Bal won the Golden Bear at the 60th Berlin International Film Festival.

Kaplanoğlu is married to journalist, author and screenwriter Leyla İpekçi, who is a niece of the assassinated notable journalist Abdi İpekçi.

Şehnaz Tango (TV series)
2001Herkes Kendi Evinde (Away From Home)
2005Meleğin Düşüşü (aka Greek: Ekptotos angelos)
2007Yumurta (Egg)
2008Süt (Milk)
2010Bal (Honey)
2015Grain

[3] Grain was filmed in the city of Detroit at various emblematic and historic locations. It was awarded an incentive of $238,588 on $727,406 of projected in-state expenditures and is expected to hire 77 Michigan workers with a full time equivalent of eight jobs. 

“We are proud and happy to be awarded a Michigan film incentive,” said Johannes Rexin, who is producing the project alongside Semih Kaplanoglu and Nadir Öperli. “Grain is a pure arthouse project designed as an international co-production with the aim of opening the film for a broader audience. We will shoot in English because we want to produce Grain as a unique film with universal texture and we are thankful to be welcomed in Pure Michigan and Detroit with its great tradition and history.”

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Word Origin | Haydut, Hayta, Eşkiya, Hergele, Haylaz

March 15, 2016, 6:21 am
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Mavi Boncuk |
Hajduk, 1703

Mavi Boncuk |
Irredentism

Haydut: bandit, brigand, robber.
haydut [xvii Men, Peç] Macar piyade askeri
[xviii] eşkiya, başıbozuk from Hungarian hajdúk[1] [pl.] hajdú başıbozuk piyade, akıncı

Serbian/Albanian hajduk, Romanian haiduc, Bulgarian haidut (eşkiya, başıbozuk
little devil, little dickens.

Hayta: hooligan, hobo, bum EN[2]; "haydut, başıbozuk (özellikle Rumeli'de)" [IIIS 1792] yanlarında olan eṭba ve asker Rumeli hayṭa ve eşḳıya ve kaypakcıları olmağla Haydut: [ Meninski, Thesaurus, 1680] haydūd: Miles pedestris Hungaricus [Macar piyade askeri] [ Evliya Çelebi, Seyahatname, 1683] Cümle reāyāsı āşikāre haydūdlardır [haramilerdir] kim kārbān bozarlar Hungarian hajdúk [pl.] Hungarian hajdú irregular fighter EN; başıbozuk asker, akıncı.

Sırp/Arn hajduk, Rom haiduc, Bul haidut/haiduk, İt aiducco "eşkiya, çeteci". 1580 dolayında Osmanlı idaresi altında türeyen Macarca sözcüğün nihai kökeni açık değildir.  Kamus ve Sıhah'a göre Ar ḥaydūda(t) حيدودة "yoldan çıkma, sapma" anlamında ḥāda fiilinin masdarıdır. Bkz. Lane I.684. Macarca sözcüğün bir şekilde Arapça kökenli bir Osmanlı idari tabirinden türemiş olması mümkün görünüyor.


Eşkiya: (pl.) Şakiler. Brigand[3] EN Yol kesenler. Asiler. Allah'a veya kanunlara isyan edip kötülük yapanlar. Haydutlar[1], anarşistler, âsiler. Hak ve kanunlara baş kaldıranlar, Allahın emirlerine karşı gelenler.

Haylaz: TartarTR: [ Meninski, Thesaurus, 1680] haylamak: Curare [umursamak]. (...) haylamaz: non refert, non obest [umursamaz].TartarTR: [ Ahmed Vefik Paşa, Lugat-ı Osmani, 1876] haylaz: Tembel. Tartar TR haylamaz aldırmaz Tartar TR hayla- aldırmak, umursamak +mAz 

[1] Hajduk is a term most commonly referring to outlaws, brigands, highwaymen or freedom fighters in Southeastern Europe, and parts of Central and Eastern Europe. In Balkan folkloric tradition, the hajduk (hajduci or haiduci in the plural) is a romanticised hero figure who steals from, and leads his fighters into battle against, the Ottoman or Habsburg authorities. They are comparable to the English legend of Robin Hood and his merry men, who stole from the rich (which as in the case of the hajduci happened to be also foreign occupants) and gave to the poor, while defying unjust laws and authority.

[2]  goof-off;  ne'er-do-well,  good-for-nothing, no-count. (someone) who is a goof-off; ne'er-do-well, good-for-nothing, no-count.

[3] The brigand is supposed to derive his name from the Old French brigan, which is a form of the Italian brigante, an irregular or partisan soldier. There can be no doubt as to the origin of the word bandit, which has the same meaning. In Italy, which is not unjustly considered the home of the most accomplished European brigands, a bandito was a man declared outlaw by proclamation, or bando[dubious – discuss], called in Scotland "a decree of horning" because it was delivered by a blast of a horn at the town cross. The brigand, therefore, is the outlaw who conducts warfare after the manner of an irregular or partisan soldier by skirmishes and surprises, who makes the war support itself by plunder, by extorting blackmail, by capturing prisoners and holding them to ransom, who enforces his demands by violence, and kills the prisoners who cannot pay.


Pictured
Dimitrios Makris a Greek klepht chief of the 19th century

Brigandage as resistance
Armenian fedayi, guerillas and irregulars (1880s–1920s)
Bushrangers, bandits in Australia (1850s–1900s)
Kachaks, Albanian bandits and rebels (1880s–1930)
Klepht[*], Ottoman Greek bandits and rebels
Haidamaka, pro-Cossack paramility (18th century)
Rapparee, Irish guerillas (1690s)
Uskoks, Habsburg irregulars (1520s–1618)
Zeybeks, Ottoman irregulars (17th to 20th c.) 

In certain conditions the brigand has not been a mere malefactor. "It is you who are the thieves", was the defence of the Calabrian who was tried as a brigand by a French court-martial during the reign of Joachim Murat in Naples.

Brigandage may be, and not infrequently has been, the last resource of a people subject to invasion. The Calabrians who fought for Ferdinand I of the Two Sicilies, and the Spanish irregular levies, which maintained the national resistance against the French from 1808 to 1814, were called brigands by their enemies.

In the Balkan peninsula, under Turkish rule, the brigands (called klephts by the Greeks and hayduks or haydutzi by the Slavs) had some claim to believe themselves the representatives of their people against oppressors. The only approach to an attempt to maintain order was the permission given to part of the population to carry arms in order to repress the klephts. They were hence called armatoli. As a matter of fact the armatole were rather the allies than the enemies of the klephts.

[*] From modern Greek klephtēs, from Greek kleptēs 'thief'. The original klephts led an outlaw existence in the mountains; those who maintained this after the war of independence became bandits. The terms kleptomania and kleptocracy are derived from the same Greek root, κλέπτειν (kleptein), "to steal".
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