La question de la restitution des oeuvres d’art se maintient dans l’actualité turque

Par  pensionnaire scientifique à l’Institut français d’études anatoliennes, Istanbul.

 

« Il est trois domaines qui ne souffrent pas de la crise économique : les trafics d’arme, de drogue et d’œuvres culturelles », c’est ainsi que débute le dernier éditorial (27/11/2012, en turc) d’Özgen Acar sur lequel nous rebondissons. La Turquie, dont l’héritage culturel est proverbial, souffre particulièrement de ce dernier type de trafic. Au durcissement de l’arsenal répressif, s’ajoute la multiplication de demandes de restitutions, de la part des autorités turques, d’œuvres aujourd’hui exposées dans divers musées internationaux. Ces requêtes sont à l’origine de nombreuses tensions dont les répercussions se font sentir à tous les niveaux de la coopération internationale.

 

La fureur du Premier ministre turc contre la série « Le siècle magnifique » inspire les caricaturistes

 

Dans son discours du 26 novembre 2012 le PM turc Tayyip Erdogan a tonné contre la série télévisuelle le siècle magnifique qui romance  les intrigues de palais et de harem au temps de Suleyman le Magnifique. Confondant fiction et documentaire il reproche à cette télénovéla qui s’exporte fort bien autant vers la Grèce que vers les pays arabes de ne pas respecter la vérité historique. Selon lui les sultans ne passaient guère du temps dans leur palais mais à cheval, s’occupant de conquêts. Il a même ajouté qu’aujourd’hui encore la Turquie pourrait aller  dans ces mêmes territoires.

 

L’opposition au gouvernement turc « musulman conservateur » persévère dans ses célébrations républicaines et commémore Atatürk avec ferveur

Le 10 novembre est l’anniversaire de la mort de Mustafa Kemal Atatürk, décédé en 1938. La lecture que fait de la création de la République Turque le gouvernement de Recep Tayyip Erdogan induit aujourd’hui de commémorer avec moins de ferveur cette journée. A Ankara et Istanbul des manifestations rappellent que l’aura du fondateur de la République reste intacte dans les rangs d’une bonne partie de  la population…faut-il ajouter « des grandes villes »?  Photo de la chaîne humaine sur les rives asiatiques de la Mer Marmara (communiquée par la Mairie de Kadiköy)

DERVICHES TOURNEURS AU FEMININ? A Bursa des femmes derviches proposent une cérémonie Mevlevî

Au centre culturel Karabaş-i Veli de Bursa, ville de la région de la mer de Marmara, des femmes derviches officient pour le  sema, la cérémonie mevlevî, dénommée les « derviches tourneurs » dans la nomenclature touristique. A Istanbul plusieurs lieux proposent aux spectateurs des séances de sema et on peut s’interroger sur le contenu spirituel de ces séquences conçues pour le spectacle alors que le soufisme, le tasavvuf constituaient  justement le volet spirituel qui aurait manqué à l’Islam ottoman occupé à l’administration quotidienne de  la cité. Il n’y a pas forcément de raison pour que ces sema au féminin  échappent  à cette mise en spectacle… sans doute faut-il aller y voir de plus près

Écrit par Gaelle Loisel
Un lieu d’exception à découvrir: le centre culturel Karabaş-i Veli de Bursa, où des femmes derviches proposent une fois pamois une cérémonie Mevlevi. Un festival de couleurs, une atmosphère intimiste et un total émerveillement vous attendent, sans oublier le jardin, où elles vous accueilleront dans une ambiance sereine tout en vous offrant thé et délicieux lokmas… Nous avons rencontré l’une d’elles, Gülşah Köprü Halis

Lepetitjournal.com d’Istanbul : Quand et comment avez-vous commencé à participer à des cérémonies Mevlevi (sema)?
Gülşah Köprü Halis
: Depuis six ans, j’essaie de participer aux conversations “tasavvuf” (soufisme). Je participe à des sema depuis quatre ans. La première fois que je suis venue au centre culturel Karabaş-i Veli, il y avait des derviches tourneurs. En les regardant danser, je me suis dit que je voulais faire cela.C’était le début des sema pour les femmes au centre.

Le sema des femmes derviches (photo GL)

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Le pianiste turc Fazil Say est jugé en Turquie pour blasphème


Le virtuose turc du piano Fazil Say jugé pour blasphème rejette les accusations

Le pianiste turc mondialement connu et bête noire des islamistes, Fazil Say, a comparu jeudi devant un tribunal d'Istanbul où il a rejeté les accusations d'atteintes aux valeurs religieuses des musulmans, a constaté l'AFP.
(c) Afp

Le pianiste turc mondialement connu et bête noire des islamistes, Fazil Say, a comparu jeudi devant un tribunal d’Istanbul où il a rejeté les accusations d’atteintes aux valeurs religieuses des musulmans, a constaté l’AFP. (c) Afp

ISTANBUL (AFP) – Le pianiste turc mondialement connu et bête noire des islamistes, Fazil Say, a comparu jeudi devant un tribunal d’Istanbul où il a rejeté les accusations d’atteintes aux valeurs religieuses des musulmans, a constaté l’AFP.

La justice turque l’a inculpé au début de l’été pour « insulte aux valeurs religieuses d’une partie de la population » après qu’il a publié sur son compte Twitter quelques tirades provocatrices sur l’islam, religion très majoritaire en Turquie, et les musulmans.

« Je rejette toutes les accusations », a dit le compositeur habillé tout en noir et visiblement énervé lors d’une brève intervention devant la cour, avant de remettre au juge sa défense écrite.

Ses avocats ont réclamé l’acquittement immédiat de leur client, ce qui a été refusé par le tribunal d’instance qui a fixé la prochaine audience au 18 février.

Le virtuose, âgé de 42 ans, encourt une peine d’un an et demi de prison.

 

La politique de demande de restitution des objets archéologiques menée par la Turquie alarme les musées.

Seeking Return of Art, Turkey Jolts Museums

Ayman Oghanna for The New York Times

Visitors at the Archaeology Museum in Istanbul with the Alexander Sarcophagus, which was dug up in Ottoman times.

By
Published: September 30, 2012

La nouvelle politique en archéologie du Ministère turc de la Culture et du Tourisme

« A tendency to use power over excavators » –
Archaeology in Turkey

Interview with Dr Edhem Eldem

Dr Edhem Eldem is a renowned Turkish historian who teaches at the Department of History at Boğaziçi University in Istanbul. His research focus lies on the late Ottoman social and economic history, intellectual biographies and the history of archaeology. A few weeks ago he published an article in the German Frankfurter Allgemeine Zeitung on the present situation for archaeologists in Turkey. We asked Dr Edhem Eldem some further questions on this topic.

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Dr Edhem Eldem, Department of History, Boğaziçi University, Istanbul

« A tendency to use power over excavators as a means of retaliation »

L.I.S.A.: Dr. Eldem, a few weeks ago you have published an article in the German newspaper Frankfurter Allgemeine Zeitung. The topic: politicians – in this case in Turkey – misuse treasures of antiquity for their own benefit, with serious consequences for the academic discipline Archaeology and for archaeologists. You refer especially to foreign, non-turkish campaigns. What kind of consequences do you mean? What is the real problem?

 

Dr. Eldem: Behind my desire to write this article were two ‘burning’ issues concerning archaeology and politics in Turkey. First, a marked tendency of the government to take away excavation permits from foreign teams or, at least, to threaten to do so; second, a systematic refusal, again by the government, to lend objects to museums holding, or said to be holding, objects that had been illegally taken from the Turkish territory. At first glance, these two issues do not need to be necessarily taken as a form of abuse on behalf of the government. After all, ever since Ottoman times, the government has been legally granted the authority to deliver permits to excavators, foreign and domestic alike; in that sense, it is within the government’s power and duties to see to it that these permits are delivered properly and that their legal and scientific requirements are properly met. Moreover, it is also true that there is an impressive number of objects and artifacts that have been removed from Ottoman, and then Turkish, soil as a result of clandestine digs and outright smuggling. From this perspective, too, it falls within the prerogatives and duties of the government to do its best to prevent such occurrences in the future and to obtain restitution for those objects that have been traced to private and public collections abroad.

 

L’art contemporain turc s’exhibe à Séoul

Contemporary Istanbul exhibe l’art contemporain turc à Séoul. Hasan Bülent Kahraman est le commissaire de cette exposition « Encounters » qui aura lieu entre 6 et 26 septembre 2012 à l’ ARA Art Square . Les artistes présentés sont:
Ardan Özmenoğlu – Aslımay Altay Göney – Arslan Sükan – Ayça Telgeren – Bahar Oganer – Bedri Baykam – Burçak Bingöl – Burcu Aksoy – Burcu Perçin – Burhan Doğançay – Can Kurucu – Can Ertaş – Çınar Eslek – Deniz Üster – Ebru Uygun – Ekrem Yalçındağ – Elif Uras – Elif Boyner- Erol Akyavaş – Ferhat Özgür – Filiz Azak – Gökçe Erhan – Gökhan Deniz – Haluk Akakçe – Hüsamettin Koçan – Ilgın Seymen – İrem Tok – Jale Çelik – Kemal Seyhan -Kezban Arca Batıbeki – Komet – Maide Bulak – Murat Germen – Nazif Topçuoğlu – Nejat Satı – Nermin Er – Nezaket Ekici – Orhan Cem Çetin – Can Ertaş – Osman Dinç – Ramazan Bayrakoğlu – Seçkin Pirim – Sevim Sancaktar – Seydi Murat Koç- Seza Paker – Sıtkı Kösemen – Sümer Sayın – Tuğberk Selçuk- Yaşam Şaşmazer- Yağız Özgen – Yeşim Akdeniz – Yıldız Şermet – Zeynep Kayan”

8.30.2012 Une sculpture humaine extraordinaire découverte en Turquie

Une sculpture humaine colossale est l’un des derniers trésors culturels exhumés par l’équipe internationale du projet archéologique Tayinat (TAP).
Ce chantier de fouilles se trouve en Turquie du sud-est.

 La tête et le torse de la figure humaine, intacte juste au-dessus de sa taille, mesurent environ 1,5 mètres de hauteur, ce qui suggère une longueur totale du corps de 3,5 à 4 mètres.

La mort programmée de la langue judéo-espagnole (ladino)

Turkish Jewish scholar promotes Ladino

Wednesday, August 15, 2012

Karen Gerson Sarhon is fighting a rearguard action to save Ladino – once the lingua franca of Sephardi Jews – from utter extinction.

Founder and director of the Istanbul-based Ottoman-Turkish Sephardic Culture Research Center, she is frankly glum about Ladino’s prospects.

“It’s dying,” said Sarhon, a 54-year-old former English teacher who established the institute in 2003 under the auspices of the chief rabbinate to document, collect and transmit the rich cultural treasury of the Jews of Turkey. “My generation is the last Ladino-speaking generation.”

Nonetheless, Sarhon, who has written two MA theses on Ladino, is doing her level best to nurture it.

She edits El Amaneser (The Dawn), one of the last remaining Ladino newspapers. A monthly with a circulation of 4,000, including 300 overseas subscribers, it appears as a one-page supplement in Salom, the official organ of Turkey’s Jewish community.

She has also compiled a data base of 80 hours of spoken Ladino, culled from native speakers.

Ladino was at its peak in the 19th century, when it was the language of communication in the far-flung Ottoman Empire, which stretched into the Balkans and the Middle East.

“Ladino was the most important element of Jewish identity in the Ottoman Empire,” said Sarhon. “Few Jewish women could speak Turkish. Jewish men who knew Turkish spoke it with a heavy Jewish accent.”

A form of 15th-century Castilian Spanish, with words borrowed from Hebrew, Turkish, Arabic, Greek and French, Ladino was transmitted orally. Its speakers were Jews expelled from Spain in the late 15th century.

Sometimes called “El Espanol Maestro,” or “Our Spanish,” Ladino was also referred to it as “Djudesmo.”

Ladino basically developed three dialects, reflecting the countries to which Spanish Jews fled in the wake of the great expulsion. Western Ladino emerged in the Balkans: Greece, Bulgaria, Macedonia, Serbia, Bosnia and Romania. Oriental Ladino sprouted in Turkey, the successor state of the Ottoman Empire. Haquitiya sprang up in North Africa, mainly in Morocco.

For centuries, Ladino was written in Hebrew characters, its alphabet having been devised by Rashi, the medieval rabbi and rabbinical commentator.

With the advent of the Turkish republic in 1923, Ladino began using the Latin alphabet.

In retrospect, Ladino has suffered a long decline.

Two hundred and fifty thousand Jews were fluent in it a century ago, compared to 40,000 Jews worldwide today. Some 200,000 Jews, however, have a rudimentary knowledge of Ladino.

“They can say a few words,” said Sarhon, who learned Ladino at home from her parents.

In Turkey, there are upward of 8,000 Ladino speakers in a Jewish population of about 18,000. Sami Kohen, an 83-year-old  journalist who writes a foreign affairs column for the daily newspaper Milliyet and once edited his father’s Ladino newspaper, is a member of that declining group. “I speak and read Ladino,” he said. “But my children don’t.”

In Israel, where 100,000 Jews of Turkish descent and their children and grandchildren live, there are 25,000 Ladino speakers.

There are also pockets of Ladino speakers in France, Bulgaria, Belgium, Canada, the United States and Latin America.

According to Sarhon, Ladino is withering because it has lost its function as the “home language” of Ottoman Jews.

The first blow was struck by the Alliance Israelite Universelle, a Paris-based organization founded in 1860 and dedicated to providing Jewish children with elementary school and vocational training in French. By the dawn of the 20th century, there were 115 such schools in the Middle East, with the bulk in Turkey, Morocco and Tunisia.

In Turkey, French displaced Ladino. “Jews speaking only Ladino were considered uneducated and looked down upon,” said Sarhon. “French had status. It was the language of the elite.”

This trend was hastened by the creation of the Turkish republic, which encouraged the use of Turkish. “It became shameful to speak Ladino outside the home,” she said. “My father learned Turkish when he was inducted into the army in 1941.”

During the 1930s, in a further bid to encourage the use of Turkish, the Turkish government shut down Alliance Israelite Universelle schools.

“With this development, the prestige of Ladino dropped even more,” she said. “By the 1970s, Ladino was regarded as a jargon rather than a language. The expectation was that it would be dead in 10 or 15 years.”

The Holocaust was a bitter blow as well, resulting in the deaths of some 100,000 Ladino speakers.

In the 1980s, fate intervened and handed Ladino something of a reprieve as Sarhon and like-minded Turkish Jews began exploring their Sephardi culture and Ladino heritage.

By the age of 19, she spoke Ladino fluently, having learned it in order to perform in high school plays.

In Israel, meanwhile, an institution to perpetuate Ladino was opened under the patronage of Yitzhak Navon the then Israeli president. The quincentennial of the arrival of Spanish Jews in the Ottoman Empire gave Ladino yet another boost.

The Cervantes Institute, founded by Spain to promote Spanish language and culture in foreign countries, was another step in promoting Ladino, she observed.

Apart from El Amaneser, Ladino periodicals are published today in Israel (Aki Yerushlayim), Belgium (Los Muestros) and France (Aki Estamos). La Lettre Sepharade ceased publication in France several years ago.

There are also digital Ladino publications in Argentina and Izmir, Turkey.

Additionally, a handful of Ladino books, ranging from dictionaries to cookbooks, are published annually in countries such as Turkey and France. Ladino language courses are taught at Israeli, U.S. and European universities, but not at Jewish day schools.

Despite an upsurge of interest in Ladino studies of late, Ladino’s future remains hazy and uncertain, Sarhon said, noting that her 15-year-old daughter is not a Ladino speaker. As she put it, “We speak Turkish and English at home.”

Création du musée virtuel du design industriel en Turquie

Endüstriyel Tasarımcılar, 20 Senelik Bir Hayali Nasıl Hayata Geçirdiler?
12.07.2012 /
Haber : E. Seda KAYIM

http://www.mimarizm.com/isDisi/Detay.aspx?id=2172#.UASvuoeei6I.facebook

Endüstriyel Tasarımcılar Meslek Kuruluşu Derneği (ETMK), yaklaşık bir yıldır süren hummalı çalışmalarının son meyvesine de kavuştu: Endüstriyel Tasarım Sanal Müzesi (ETSM) açıldı.

Türkiye’de özgün ürün tasarımı konusunda geçmişten günümüze gerçekleşen üretim ve tasarım süreçlerinin kaydını tutmak, üretici ve tasarımcılara dair nesne ve arşiv malzemesini bir araya getirerek bir tasarım belleği oluşturmak üzere kurgulanan ETSM, aslında ETMK’nın uzun soluklu proje geliştirme maratonunun son büyük adımıydı. İstanbul Kalkınma Ajansı’na sundukları ve rekor bir fonla gerçekleştirme fırsatı buldukları “Endüstriyel Tasarım Sektörünün Global Rekabet Gücünün Artırılması” başlıklı proje için Gamze Güven, “Üç senelik süreci bir seneye sığdırdık” diyor.

Projeye gönül veren ETMK üyeleri, henüz sonuna dahi gelmediğimiz 2011 yılı içinde İTÜ ile birlikte International Design Alliance (IDA) Konferansı’nın İstanbul’da yapılmasını sağlamaktan ETMK’nın Uluslararası Endüstriyel Tasarımcılar Konseyi’ne (ICSID) üyeliğini gerçekleştirmeye, Endüstriyel Tasarım Tanıtım Ajansı ’nı (ETTA) kurmak ve mekanlaştırmaktan Beyoğlu’nun kentsel hayatında tasarım nesnesinin yerini anlatan “Geçmişten Günümüze Beyoğlu’nda Tasarım” sergisine ve Milano Zona Tortona’da Türkiye endüstriyel tasarımının toplu geçit törenini gerçekleştirmeye uzanan hacimde ve önemde işler gerçekleştirdiler. Hedef ise hep aynıydı: Türkiye’de endüstriyel tasarım üretimini teşvik etmek ve uluslararası pazarda görünürlük kazandırmak.

ETMK’nın baş koyduğu bu yol Türkiye’deki diğer çoğu meslek örgütüne önemli ve örnek bir model oluşturuyor. Belki daha da önemlisi, mesleklerin kamusallaştırılmasında meslek insanlarının üstlendiği görevin altını çiziyor.

Proje Koordinatörü Gamze Güven, ETMK Genel Sekreteri Bülent Zorlu ve Müze Yöneticisi Burçak Madran ile ETTA ve ETSM’nin yanı sıra sektörel toplantılar, eğitimler, atölyeler ve uluslararası katılımlarla zenginleşen bu “20 yıllık hayal”in tüm adımlarını, zorluklarını, başarılarını ve ortaya çıkardığı potansiyelleri konuştuk.

http://www.mimarizm.com/isDisi/Detay.aspx?id=2172#.UASvuoeei6I.facebook

Le musée de la ville de çanakkale est en train d’être créé.

Çanakkale Kent Müzesi’nin kuruluş sürecinde; kentin dünkü çocukları erişkinlerin çocukluk anılarını bugünün çocuklarını soruları ile açığa çıkararak müzenin ana hedeflerinden biri olan yaşayanların beleğini kayıt altına alarak paylaşamak, paylaşırken kenttin geleceğine çocukları dahil etmek amacı ile oluşturulan « Çocuk Gözü ile Kent » projesi bir yandan gelenekselleşirken diğer taraftan kendi içinde dönüşerek devam ediyor. Projenin dört yıllık süreci ve deneyimleri iki ay sürecek serginin ardından Eylül2012 ayı Müzenin e bülteni aracılığı ilede paylaşılacak.

Le mécène, un acteur méconnu de la ville

Cet article a pour ambition de proposer une réflexion sur l’homme d’affaires - collectionneur - donateur - créateur de musée en termes d’idéal-type. Il se propose de repérer les logiques qui le guident, d’analyser les impacts de ses actions. http://transcontinentales.revues.org/374.

La ville d’Istanbul sert de cadre à cette réflexion : elle se distingue en effet par une vitalité surprenante dans le domaine des événements culturels internationaux menés à l’initiative d’un secteur « à but non lucratif » en pleine croissance et par un nombre considérable de musées privés fondés dans les dix dernières années. Fondations privées et grandes familles émergentes ont ensemble transformé le paysage de la ville d’Istanbul, se donnant pour missions non seulement d’enrichir l’offre culturelle et artistique pour les élites stambouliotes, mais aussi d’inscrire Istanbul dans le réseau des métropoles mondiales, et de contribuer ainsi à en faire l’emblème d’une Turquie appartenant résolument au bloc européen, occidental

Nora Seni, « Le mécène, un acteur méconnu de la ville », Transcontinentales [En ligne], 7 | 2009, document 6, mis en ligne le 30 mars 2011, consulté le 08 juin 2012.

Liens : actualités culturelles

Presse généraliste : 

Radikal :
http://www.radikal.com.tr/Radikal.aspx?aType=RadikalKategoriV3&CategoryID=82 

Hürriyet :
Turkish : http://www.hurriyet.com.tr/kultur-sanat/
English :  http://www.hurriyetdailynews.com/artculture.aspx?pageID=431

Zaman : 
Turkish : http://zaman.com.tr/bolum.do?bolumno=6
English :  http://www.todayszaman.com/menuDetail.action?sectionId=110

Taraf : 
http://www.taraf.com.tr/kultur-sanat/ 

Haberler :
http://www.haberler.com/kultur-sanat/

Son Dakika :
http://www.sondakika.com/kultur-sanat/ 

Haber 34 :
http://www.haber34.com/kultursanat 

En Son Haber :
http://www.ensonhaber.com/kategori/kultur-sanat 

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Presse spécialisée : 

Milliyet Sanat :
http://sanat.milliyet.com.tr/ 

ICE (Istanbul Contemporary Etc.) :
 http://icemagazinenews.blogspot.com/

Kültür Sanat Haritasi : 
http://www.dijimecmua.com/kultur-sanat-haritasi/ 

Rh + Sanat :
http://rhartmagazine.com/ ou sur D&R

Psikeart :
http://www.psikeart.com/ 

ArtIst Actual :
http://artistdergisi-modern-actual.blogspot.com/ 

Sanat Dergi Istanbul : 
http://www.sanatdergi.com/ 

Time Out Istanbul :
 http://www.timeout.com/istanbul/

The Guide Istanbul : 
 http://www.theguideistanbul.com/

Istanbul.com : 
http://www.istanbul.com/ 

Istanbul.net.tr : 
http://www.istanbul.net.tr/ 


Liens : institutions

Institut Français d’Etudes Anatoliennes (IFEA):
https://www.ifea-istanbul.net/ 

European Cultural Foundation : 
http://www.eurocult.org/

IBB Kültür A.Ş. (İstanbul Kültür ve Sanat Ürünleri Tic. A.Ş.) : 
http://www.kultursanat.org/ 

Fondation IKSV (Istanbul Kültür Sanat Vakfi):
http://www.iksv.org/tr 

UNESCO : 
http://www.unesco.org/new/en/culture/ 

CGLU (Agenda 21 pour la culture ) :
http://www.agenda21culture.net/index.php?lang=fr 

Anadolu Kültür :
http://www.anadolukultur.org/tr/