- 9 Eylul University, Business Administration, Graduate StudentEge University, State Turkish Music Conservatory Department of Folk Dance, Graduate Studentadd
- I was born in 1978 in Izmir. I graduated from Dokuz Eylül University, Faculty of Economics and Administrative Sciences, Department of Business Administration in 2003. I graduated from the Department of Folk Dances at the Ege University State Turkish Music Conservatory in 2008. I completed my master's degree in 2017 with the thesis titled "History of Belly... moreI was born in 1978 in Izmir. I graduated from Dokuz Eylül University, Faculty of Economics and Administrative Sciences, Department of Business Administration in 2003. I graduated from the Department of Folk Dances at the Ege University State Turkish Music Conservatory in 2008. I completed my master's degree in 2017 with the thesis titled "History of Belly Dance in Turkey" in the same department. I am in the dissertation stage of my doctoral education at Ege University, Faculty of Communication, Department of Journalism with my thesis titled "Mediatized Dance In Posthumanity Age: Articulated Bodies, Performances and Spaces”. I have been working as a research assistant at Sakarya University State Conservatory Turkish Folk Dance Department since 2012.edit
The connection between cinematography and ethnography is stronger than thought. The audiovisual filming, editing and presenting of the ethnographic material sometimes can be more effective than writing a book. The audiovisual filming, the... more
The connection between cinematography and ethnography is stronger than thought. The audiovisual filming, editing and presenting of the ethnographic material sometimes can be more effective than writing a book. The audiovisual filming, the method used and the presentation of ethnographic material changes according to the purpose of the researcher, because the place you turn your lens reflects your ideology. For example, the same dance and music can create another meaning with particular ambience, angles and editing. Therefore, the method of filming has to be selected according to the purpose of the recording, the desired relation between the ‘reality’, within understanding of ethnology. There are several underlying reasons but, in particularly the attitude of the hegemonic nation ideology on ethnicity. Within a historical perspective, this paper aims to reveal the relation between ethnography and cinematography, giving information about filming and presenting the audiovisual materials and offering some practical solutions. By including interpretations and excerpts of films this paper aspires to meet the deficit in this field.
Research Interests:
At the beginning of June 2013, Turkey experienced its biggest civil social movement of this century which became known as “Gezi Park Resistance”. It was a widespread challenge for a large section of the society, for those who felt under... more
At the beginning of June 2013, Turkey experienced its biggest civil social movement of this century which became known as “Gezi Park Resistance”. It was a widespread challenge for a large section of the society, for those who felt under pressure against official ideology without discriminating between class, race, language or belief. Music had an important position in this challenging movement which consisted of a specific sense of humour and aesthetics. Open street performances and concerts improved the mass motivation as a tool of defiance; music was an action which has become a mark for its history. In this study, we would like to underline and explain how music holds people together as a tool of modern resistance, challenge, and disobedience by being a cultural product and how means of communication and social media affects its duration by using a case study of “Praksis Music Band” under the conditions of Gezi Protests.
Research Interests:
Contemporary art performances generally show a difference with traditional practices in time. These changes can be either in performance or performers as well as the context. “Köçek” and “Zenne” performances exist since Ottoman Empire Era... more
Contemporary art performances generally show a difference with traditional practices in time. These changes can be either in performance or performers as well as the context. “Köçek” and “Zenne” performances exist since Ottoman Empire Era until today. These performances also differ from the their traditional froms at the present time. But the changes in form, are not reflected to the terms used to entitle these performances. In this paper, we will define the tradional and the current forms of “köçek” and “zenne”. We will compare the chances and determine the differences of these performances from tradition up to date. And we will indicate the change in perception about terms of these performances by time. We will consider if the terms are still covering the meaning of these performances for audience.