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Onur Gunay
Onur Günay is an anthropologist and documentary filmmaker. Currently, he is a Lecturer in the Department of AnthOnur Günay is an anthropologist and documentary filmmaker, specializing in political and medical anthropology, social and critical theory, and Middle Eastern studies. Currently, he is a Lecturer in the Department of Anthropology at Princeton University.
Günay’s book manuscript explores the entangled logics of ethno-racial violence, statecraft, and religious governance at the intersections of two wars in contemporary Turkey: the long-standing “War on Terror” against the Kurdish insurgency, and a more recent war on drugs. He shows how these conflicts mark Kurdish bodies as permanent security threats as potential criminals, addicts, or terrorists and targets of political violence. His ethnographic research also documents the work of grassroots religious movements in Istanbul attempting to reform “violent masculinities” as part of state’s war on drugs, analyzing racial and gendered technologies deployed in attempts to craft ideal Muslim-Turkish subjects out of a marginalized population.
The manuscript is based on thirty months of ethnographic fieldwork carried out with Kurdish migrant workers in labor markets, hiring hubs, Sufi lodges of prayer and drug rehabilitation, coffeehouses, and sites of leisure and desire, and a decade of anthropological engagement in Istanbul and the Kurdish region of Turkey. His ethnographic fieldwork between 2013 and 2016 took place in years of a fragile peace process and then renewed conflict.
Günay’s work has appeared in American Anthropologist, Dialectical Anthropology, New Perspectives on Turkey, and Toplum ve Kuram (Theory and Society), and online at Jadaliyya, Somatosphere, Özgür Gündem, Evrensel, T24, and Bianet. He holds a PhD (2017) and an MA (2013) in Anthropology from Princeton University, and an MA in Sociology from Boğaziçi University. In 2017-2018, he was a Mellon Postdoctoral Fellow at Harvard University Mahindra Humanities Center.
Onur’s work as a filmmaker is integral to his work as anthropologist and storyteller. His last documentary, Garod (Longing [Eng] / Hasret [TUR]), made with ethnomusicologist Burcu Yıldız, portrays the remaking of a musical tradition in the shadow of genocidal loss through the story of a trip taken by two Armenian-American musicians, Onnik Dinkjian and Ara Dinkjian, to their family’s town of origin, Diyarbakır. Garod was one of the very few films selected for screening in the 2015 Armenian Genocide centenary commemorations organized in Turkey, Armenia, Germany, France, Canada, and the United States, owing to its strong emphasis on hope, resilience, and the life-making capacities of people in the wake of violent catastrophe.
Günay has taught large, introductory freshmen courses, as well as undergraduate and graduate seminars at Princeton and Harvard. His teaching supports critical thinking, research-oriented learning, multimodal knowledge-production, and community outreach. He practices a democratic and dialogical approach to teaching that supports the development of students’ social sensibilities and conceptual abilities.
Locating ethnography’s radical political potential at its center, Günay’s research and teaching methodologies cross disciplines and genres among social sciences, humanities and visual arts. He works and teaches with heterodox theoretical frameworks such as decolonial, feminist, non-Western and indigenous approaches in conversation with canonical works in anthropology, social theory, and critical theory.
Selected Publications
Günay, Onur. 2019. “In War and Peace: Shifting Narratives of Violence in Kurdish Istanbul.” American Anthropologist 121(3): 554-67.
(Honorable mention in the Best Article in Kurdish Political Studies Award Competition in 2020)
Günay, Onur and Erdem Yörük. 2019. “Governing Ethnic Unrest: Political Islam and the Kurdish Conflict in Turkey.” New Perspectives on Turkey, no. 61: 9–43.
Günay, Onur. 2014. “Geçmişin İşlenmesi Ne Demektir? (“The Meaning of Working Through the Past”), Toplum ve Kuram(9): 13-30.
Günay, Onur. 2013. “Toward a Critique of Non-Violence.” Dialectical Anthropology 37(1):171-182.
Günay’s book manuscript explores the entangled logics of ethno-racial violence, statecraft, and religious governance at the intersections of two wars in contemporary Turkey: the long-standing “War on Terror” against the Kurdish insurgency, and a more recent war on drugs. He shows how these conflicts mark Kurdish bodies as permanent security threats as potential criminals, addicts, or terrorists and targets of political violence. His ethnographic research also documents the work of grassroots religious movements in Istanbul attempting to reform “violent masculinities” as part of state’s war on drugs, analyzing racial and gendered technologies deployed in attempts to craft ideal Muslim-Turkish subjects out of a marginalized population.
The manuscript is based on thirty months of ethnographic fieldwork carried out with Kurdish migrant workers in labor markets, hiring hubs, Sufi lodges of prayer and drug rehabilitation, coffeehouses, and sites of leisure and desire, and a decade of anthropological engagement in Istanbul and the Kurdish region of Turkey. His ethnographic fieldwork between 2013 and 2016 took place in years of a fragile peace process and then renewed conflict.
Günay’s work has appeared in American Anthropologist, Dialectical Anthropology, New Perspectives on Turkey, and Toplum ve Kuram (Theory and Society), and online at Jadaliyya, Somatosphere, Özgür Gündem, Evrensel, T24, and Bianet. He holds a PhD (2017) and an MA (2013) in Anthropology from Princeton University, and an MA in Sociology from Boğaziçi University. In 2017-2018, he was a Mellon Postdoctoral Fellow at Harvard University Mahindra Humanities Center.
Onur’s work as a filmmaker is integral to his work as anthropologist and storyteller. His last documentary, Garod (Longing [Eng] / Hasret [TUR]), made with ethnomusicologist Burcu Yıldız, portrays the remaking of a musical tradition in the shadow of genocidal loss through the story of a trip taken by two Armenian-American musicians, Onnik Dinkjian and Ara Dinkjian, to their family’s town of origin, Diyarbakır. Garod was one of the very few films selected for screening in the 2015 Armenian Genocide centenary commemorations organized in Turkey, Armenia, Germany, France, Canada, and the United States, owing to its strong emphasis on hope, resilience, and the life-making capacities of people in the wake of violent catastrophe.
Günay has taught large, introductory freshmen courses, as well as undergraduate and graduate seminars at Princeton and Harvard. His teaching supports critical thinking, research-oriented learning, multimodal knowledge-production, and community outreach. He practices a democratic and dialogical approach to teaching that supports the development of students’ social sensibilities and conceptual abilities.
Locating ethnography’s radical political potential at its center, Günay’s research and teaching methodologies cross disciplines and genres among social sciences, humanities and visual arts. He works and teaches with heterodox theoretical frameworks such as decolonial, feminist, non-Western and indigenous approaches in conversation with canonical works in anthropology, social theory, and critical theory.
Selected Publications
Günay, Onur. 2019. “In War and Peace: Shifting Narratives of Violence in Kurdish Istanbul.” American Anthropologist 121(3): 554-67.
(Honorable mention in the Best Article in Kurdish Political Studies Award Competition in 2020)
Günay, Onur and Erdem Yörük. 2019. “Governing Ethnic Unrest: Political Islam and the Kurdish Conflict in Turkey.” New Perspectives on Turkey, no. 61: 9–43.
Günay, Onur. 2014. “Geçmişin İşlenmesi Ne Demektir? (“The Meaning of Working Through the Past”), Toplum ve Kuram(9): 13-30.
Günay, Onur. 2013. “Toward a Critique of Non-Violence.” Dialectical Anthropology 37(1):171-182.
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RESUMEN En este artículo, me baso en dos años de investigación etnográfica para explorar las formas múltiples y contradictorias en que hombres kurdos de la clase trabajadora en Estambul imaginan, narran y conceptualizan la violencia. Cómo los trabajadores kurdos recuerdan y hablan públicamente de violencia, autodefensa, y retribución ha cambiado notablemente en el contexto de la resurgencia de la guerra entre el estado turco y el Partido de los trabajadores de Kurdistán (PKK). Llegué a entender esta narración de la violencia, omnipresente en todas las infraestructuras sociales de la vida kurda masculina en Estambul, como una forma de trabajo comunicativo a través de la cual una consciencia histórica distinta y entendimientos compartidos de violencia son creados, redes para la sobrevivencia y la dignidad engendradas e individualidades morales elaboradas. Estas narrativas rechazan la interpretación de la lucha kurda en desarrollo como mero terrorismo o victimismo y en cambio recuperan la agencia kurda y la contraviolencia. En estas narrativas, la “defensa de la comunidad” no sólo afirma el derecho de los pueblos a existir sino también carga la violencia simplemente con un significado moral, convirtiendo aquellos quienes protegen la comunidad en contra de la violencia del estado en figuras aspiracionales. [violencia, narrativa, moralidad, guerra y paz, memoria, Kurdos, Turquía]
KURTE Di vê gotarê de, li ser bingeha lêkolîneke etnografîk a du salan ez hewl didim lêbikolim ka ka mêrên kurd ên ji çîna karker li Stembolê bi çi awayên cihêreng û nakok li tundiyê dihizirin, wê vedibêjin û pênase dikin. Di çarçoveya jinûvedestpêkirina şerê di navbera dewleta tirk û Partiya Karkerên Kurdistan (PKK) de, awayê ku karkerên kurd tundiyê, xwe-parastin û tolhildanê bi bîr tînin û di qada giştî de behsê dikin bi awayekî berçav guheriye. Di çarçoveya vê lêkolînê de ez lê serwext bûm ku ev çîrokbêjiya tundiyê, ku hemû dem û deverên civakî yên jiyana mêrên kurd li Stembolê vedigire û lê amade ye, formeke keda ragihandinî ye ku bi rêya wê hişmendiyeke dîrokî ya xweser û fehmên hevpar ên tundiyê tên afirandin, torên ji bo domandina jiyanê û parastina rûmetê pêk tînin û kesayetiyên exlaqî tên çêkirin. Ev vegotin an qisetên jiyanê wan derbirînan red dikin ku têkoşîna kurdan tenê wek teror an jî mexdûrî şîrove dikin, û li şûnê, li bikeriya kurdan û tundiya beramber xwedî derdikevin. Di van vegotinan de, “parastina gel” ne tenê doza mafê hebûnê ya gelan dike, lê herwiha qîmeteke exlaqî jî bar dike tundiya heq, û wisa jî wan kesên ku gelê xwe li hember tundiya dewletê diparêzin dike kesên pêşeng û ilhambexş.
[tundî, vegotin, exlaq, şer û aştî, bîr, kurd, Tirkiye]
Turbulent forces unfolding around us made key medical anthropology concepts—such as structural violence, racialization, technologies of invisibility, local biologies, body techniques, human plasticity, experimentality, pharmaceuticalization, and technologies of caregiving—markedly meaningful and relevant. These concepts and the ethnographic realities they sprang from became ever more generative as students engaged online with the concrete concerns of community partners and crafted artistic projects interrogating our altered present.
Onur Günay
Abstract
This paper develops a novel position on the debates of postmodernism that both transcends and problematizes the moralistic (op)positions. Historicizing the moral polarizations concerning the social theory and cultural turn in particular, I emphasize that the moralistic oppositions tend to produce a practice of conservative critique that can solely be associated with the academic power struggles rather than the emancipatory promises of critical thought. Conceptualizing “postmodernism” as an empty-signifier on which various conflicting, irrelevant and incommensurable meanings are imposed, I argue that the concept acquired a function of political and intelectual stigmatization. In this paper, following Michel Foucault’s discussion of “Enlightenment,” I argue that any position concerning the concept of postmodernism should simply begin with the refusal to reduce the course of discussions to a “yes or no” question. A total critique of postmodernism(s) should develop a practice of critique by employing forms of historicization and immanent critique. This means a practice of critique that takes into account the historical and material conditions of the production of culture and intelectual thought on the one hand, and an immanent critique of the cultural and intelectual products by evaluating them with respect to the own criterion of thought and culture.
Keywords: Postmodernism, cultural/linguistic turn, knowledge and “the political”, language, social theory, critique, Geoff Eley, Carolyn Steedman, Michel Foucault
Bir Şantajın Reddi: Postmodernizm Tartışmaları ve Eleştirel Düşünce
Özet
Bu makale postmodernizim tartışmalarında ahlakçı konumlanış ve taraflaşmaların ötesine geçen yeni bir tavır üretmeye çalışır. Makalede sosyal teori ve özelde de kültürel/dilsel dönüşüm hakkındaki ahlakçı kutuplaşmaları tarihselleştirerek, bu tarz kutuplaşmaların eleştirel düşüncenin özgürleştirici vaadinden ziyade ancak akademik iktidar mücadeleleriyle ilişkilendirilebilecek muhafazakâr bir eleştiri pratiği ürettiğini vurguluyorum. Postmodernizmin üstüne birbiriyle çatışan, alakâsız ve kıyaslanamaz anlamların yüklendiği bir boş-gösteren olarak kavramsallaştırarak, kavramın siyasî ve entelektüel etiketleme işlevi edindiğini iddia ediyorum. Bu sayede postmodernizmin açıklayıcılığı sıfırlanıyor ve bu taraflaşmalar dahilinde bize bir evet/hayır şantajı dayatılıyor. Bu makalede, Michel Foucault’nun “Aydınlanma” hakkındaki tartışmasını takip ederek, postmodernizm hakkında alınacak her türlü pozisyonun, tartışmaların seyrini bir evet ya da hayır şantajını indirgeyecek her türlü tavrın reddedilmesi gerektiğini söylüyorum. Bütünlüklü ve üretken bir postmodernizm eleştirisi ancak siyaset, iktidar ve bilgi arasındaki bağların farkında olan bir tarihselleştirme ile içkin eleştiri biçimlerinin biraradalığıyla mümkün olabilir. Bu, bir yandan kültürün ve zihinsel üretimin tarihsel/toplumsal ve maddi koşullarını hesaba katan, öte yandan da kültürel ve entelektüel ürünleri sadece kültür ve düşüncenin kendi kıstaslarıyla değerlendiren içkin bir eleştiriyi içinde barındıran bir eleştirel pratiktir.
Bugüne kadar Kemalist elitlere ve İstanbul sermayesine karşı milletin, yoksulun, ezilenin temsilcisi olduğunu iddia eden AKP özellikle de metropollerdeki yoksullar ve emekçiler arasındaki desteğini ciddi bir biçimde kaybetti. Bu kaybın daha da büyümesinin arkasındaki diğer önemli sebepse Kürt Hareketi’yle çözüm sürecini yürüten AKP’nin süreci dondurması ve özellikle Rojava’daki gelişmelerle beraber gelenekselleşmiş devlet refleksiyle Kürt düşmanı bir noktaya savrulması oldu. Türkler ve Kürtler arasındaki İslam kardeşliğini vurgulayarak Kürtleri ezdirmeyeceğini, artık savaş olmayacağını söyleyen AKP hükümeti savaşın taraflarından birisi olunca Kürtlerin onayını ve oylarını kaybetti.
Bu yazıda, yaklaşık iki senedir etnografik araştırma yürüttüğüm İstanbul’un Kağıthane bölgesinden yola çıkarak İstanbul’daki Kürtler arasındaki oy değişimlerine dair bir takım saptamalarda bulunmaya çalışacağım.
Yazı, iki senedir araştırma yürüttüğüm ve 3 seçim geçirdiğim Kağıthane bölgesinden ve özellikle AKP'ye oy veren Kürtlerin HDP'ye kayışına dair etnografik gözlemler de içeriyor.
Onnik Dinkjian is one of the most influential Armenian singers with his unique style of singing, evoking Anatolian Armenian sound in America. Onnik Dinkjian’s family was from Diyarbakır/Dikranagert and they had to leave the country after 1915. Onnik Dinkjian was born in France and never saw his homeland until he was seventy-five. Yet he grew up in a neighborhood of Dikranagertsi Armenians listening to the stories and songs of his ‘home.’ Ara Dinkjian is a highly celebrated figure of the world music and one of the top oud players in the world. His compositions have been recorded in many different languages by top singers and musicians throughout the world.
Garod begins with the encounters of Onnik and Ara Dinkjian in Diyarbakır, a city that has become a constitutive part of their identity. Tracing past and musical lives of these musicians, the documentary lays a bridge to Diyarbakır. Garod tells the stories of Onnik and Ara through their connections to Diyarbakır, Anatolia, Armenian Church music, and also musical relations with Sid Clark, Arto Tunçboyaciyan, Night Ark, Eleftheria Arvanitaki, Sezen Aksu, Kardeş Türküler and Ahmet Kaya. The documentary passes through different geographies and countries following the traces of a musical tradition. In this documentary, Garod means not only longing for loss but also remaking of a musical tradition and the life itself.
DIRECTORS Onur Günay, Burcu Yıldız
EDITING Elif Ergezen, Onur Günay, Burcu Yıldız
SOUND DESIGN AND MIX Fuat Güney
LANGUAGE English-Armenian
SUBTITLES Turkish and English
DURATION 52 dk./52 min.
Onnik Dinkjian is one of the most influential Armenian singers with his unique style of singing, evoking Anatolian Armenian sound in America. Onnik Dinkjian’s family was from Diyarbakır/Dikranagert and they had to leave the country after 1915. Onnik Dinkjian was born in France and never saw his homeland until he was seventy-five. Yet he grew up in a neighborhood of Dikranagertsi Armenians listening to the stories and songs of his ‘home.’ Ara Dinkjian is a highly celebrated figure of the world music and one of the top oud players in the world. His compositions have been recorded in many different languages by top singers and musicians throughout the world.
Garod begins with the encounters of Onnik and Ara Dinkjian in Diyarbakır, a city that has become a constitutive part of their identity. Tracing past and musical lives of these musicians, the documentary lays a bridge to Diyarbakır. Garod tells the stories of Onnik and Ara through their connections to Diyarbakır, Anatolia, Armenian Church music, and also musical relations with Sid Clark, Arto Tunçboyaciyan, Night Ark, Eleftheria Arvanitaki, Sezen Aksu, Kardeş Türküler and Ahmet Kaya. The documentary passes through different geographies and countries following the traces of a musical tradition. In this documentary, Garod means not only longing for loss but also remaking of a musical tradition and the life itself.
This course draws on anthropology, history, critical theory, films and documentaries, and imaginative literature to explore violence, its power and meaning. We will explore conquest and colonialism, genocidal violence, state violence and political resistance, everyday violence, gendered violence, racialization, torture, as well as witnessing and repair. Building across disciplines and working with heterodox theoretical frameworks (post-colonial/decolonial, non-Western, feminist, and indigenous approaches), this course is an invitation to understand violence in its multifaceted physical, symbolic, social, political and cultural manifestations.
RESUMEN En este artículo, me baso en dos años de investigación etnográfica para explorar las formas múltiples y contradictorias en que hombres kurdos de la clase trabajadora en Estambul imaginan, narran y conceptualizan la violencia. Cómo los trabajadores kurdos recuerdan y hablan públicamente de violencia, autodefensa, y retribución ha cambiado notablemente en el contexto de la resurgencia de la guerra entre el estado turco y el Partido de los trabajadores de Kurdistán (PKK). Llegué a entender esta narración de la violencia, omnipresente en todas las infraestructuras sociales de la vida kurda masculina en Estambul, como una forma de trabajo comunicativo a través de la cual una consciencia histórica distinta y entendimientos compartidos de violencia son creados, redes para la sobrevivencia y la dignidad engendradas e individualidades morales elaboradas. Estas narrativas rechazan la interpretación de la lucha kurda en desarrollo como mero terrorismo o victimismo y en cambio recuperan la agencia kurda y la contraviolencia. En estas narrativas, la “defensa de la comunidad” no sólo afirma el derecho de los pueblos a existir sino también carga la violencia simplemente con un significado moral, convirtiendo aquellos quienes protegen la comunidad en contra de la violencia del estado en figuras aspiracionales. [violencia, narrativa, moralidad, guerra y paz, memoria, Kurdos, Turquía]
KURTE Di vê gotarê de, li ser bingeha lêkolîneke etnografîk a du salan ez hewl didim lêbikolim ka ka mêrên kurd ên ji çîna karker li Stembolê bi çi awayên cihêreng û nakok li tundiyê dihizirin, wê vedibêjin û pênase dikin. Di çarçoveya jinûvedestpêkirina şerê di navbera dewleta tirk û Partiya Karkerên Kurdistan (PKK) de, awayê ku karkerên kurd tundiyê, xwe-parastin û tolhildanê bi bîr tînin û di qada giştî de behsê dikin bi awayekî berçav guheriye. Di çarçoveya vê lêkolînê de ez lê serwext bûm ku ev çîrokbêjiya tundiyê, ku hemû dem û deverên civakî yên jiyana mêrên kurd li Stembolê vedigire û lê amade ye, formeke keda ragihandinî ye ku bi rêya wê hişmendiyeke dîrokî ya xweser û fehmên hevpar ên tundiyê tên afirandin, torên ji bo domandina jiyanê û parastina rûmetê pêk tînin û kesayetiyên exlaqî tên çêkirin. Ev vegotin an qisetên jiyanê wan derbirînan red dikin ku têkoşîna kurdan tenê wek teror an jî mexdûrî şîrove dikin, û li şûnê, li bikeriya kurdan û tundiya beramber xwedî derdikevin. Di van vegotinan de, “parastina gel” ne tenê doza mafê hebûnê ya gelan dike, lê herwiha qîmeteke exlaqî jî bar dike tundiya heq, û wisa jî wan kesên ku gelê xwe li hember tundiya dewletê diparêzin dike kesên pêşeng û ilhambexş.
[tundî, vegotin, exlaq, şer û aştî, bîr, kurd, Tirkiye]
Turbulent forces unfolding around us made key medical anthropology concepts—such as structural violence, racialization, technologies of invisibility, local biologies, body techniques, human plasticity, experimentality, pharmaceuticalization, and technologies of caregiving—markedly meaningful and relevant. These concepts and the ethnographic realities they sprang from became ever more generative as students engaged online with the concrete concerns of community partners and crafted artistic projects interrogating our altered present.
Onur Günay
Abstract
This paper develops a novel position on the debates of postmodernism that both transcends and problematizes the moralistic (op)positions. Historicizing the moral polarizations concerning the social theory and cultural turn in particular, I emphasize that the moralistic oppositions tend to produce a practice of conservative critique that can solely be associated with the academic power struggles rather than the emancipatory promises of critical thought. Conceptualizing “postmodernism” as an empty-signifier on which various conflicting, irrelevant and incommensurable meanings are imposed, I argue that the concept acquired a function of political and intelectual stigmatization. In this paper, following Michel Foucault’s discussion of “Enlightenment,” I argue that any position concerning the concept of postmodernism should simply begin with the refusal to reduce the course of discussions to a “yes or no” question. A total critique of postmodernism(s) should develop a practice of critique by employing forms of historicization and immanent critique. This means a practice of critique that takes into account the historical and material conditions of the production of culture and intelectual thought on the one hand, and an immanent critique of the cultural and intelectual products by evaluating them with respect to the own criterion of thought and culture.
Keywords: Postmodernism, cultural/linguistic turn, knowledge and “the political”, language, social theory, critique, Geoff Eley, Carolyn Steedman, Michel Foucault
Bir Şantajın Reddi: Postmodernizm Tartışmaları ve Eleştirel Düşünce
Özet
Bu makale postmodernizim tartışmalarında ahlakçı konumlanış ve taraflaşmaların ötesine geçen yeni bir tavır üretmeye çalışır. Makalede sosyal teori ve özelde de kültürel/dilsel dönüşüm hakkındaki ahlakçı kutuplaşmaları tarihselleştirerek, bu tarz kutuplaşmaların eleştirel düşüncenin özgürleştirici vaadinden ziyade ancak akademik iktidar mücadeleleriyle ilişkilendirilebilecek muhafazakâr bir eleştiri pratiği ürettiğini vurguluyorum. Postmodernizmin üstüne birbiriyle çatışan, alakâsız ve kıyaslanamaz anlamların yüklendiği bir boş-gösteren olarak kavramsallaştırarak, kavramın siyasî ve entelektüel etiketleme işlevi edindiğini iddia ediyorum. Bu sayede postmodernizmin açıklayıcılığı sıfırlanıyor ve bu taraflaşmalar dahilinde bize bir evet/hayır şantajı dayatılıyor. Bu makalede, Michel Foucault’nun “Aydınlanma” hakkındaki tartışmasını takip ederek, postmodernizm hakkında alınacak her türlü pozisyonun, tartışmaların seyrini bir evet ya da hayır şantajını indirgeyecek her türlü tavrın reddedilmesi gerektiğini söylüyorum. Bütünlüklü ve üretken bir postmodernizm eleştirisi ancak siyaset, iktidar ve bilgi arasındaki bağların farkında olan bir tarihselleştirme ile içkin eleştiri biçimlerinin biraradalığıyla mümkün olabilir. Bu, bir yandan kültürün ve zihinsel üretimin tarihsel/toplumsal ve maddi koşullarını hesaba katan, öte yandan da kültürel ve entelektüel ürünleri sadece kültür ve düşüncenin kendi kıstaslarıyla değerlendiren içkin bir eleştiriyi içinde barındıran bir eleştirel pratiktir.
Bugüne kadar Kemalist elitlere ve İstanbul sermayesine karşı milletin, yoksulun, ezilenin temsilcisi olduğunu iddia eden AKP özellikle de metropollerdeki yoksullar ve emekçiler arasındaki desteğini ciddi bir biçimde kaybetti. Bu kaybın daha da büyümesinin arkasındaki diğer önemli sebepse Kürt Hareketi’yle çözüm sürecini yürüten AKP’nin süreci dondurması ve özellikle Rojava’daki gelişmelerle beraber gelenekselleşmiş devlet refleksiyle Kürt düşmanı bir noktaya savrulması oldu. Türkler ve Kürtler arasındaki İslam kardeşliğini vurgulayarak Kürtleri ezdirmeyeceğini, artık savaş olmayacağını söyleyen AKP hükümeti savaşın taraflarından birisi olunca Kürtlerin onayını ve oylarını kaybetti.
Bu yazıda, yaklaşık iki senedir etnografik araştırma yürüttüğüm İstanbul’un Kağıthane bölgesinden yola çıkarak İstanbul’daki Kürtler arasındaki oy değişimlerine dair bir takım saptamalarda bulunmaya çalışacağım.
Yazı, iki senedir araştırma yürüttüğüm ve 3 seçim geçirdiğim Kağıthane bölgesinden ve özellikle AKP'ye oy veren Kürtlerin HDP'ye kayışına dair etnografik gözlemler de içeriyor.
Onnik Dinkjian is one of the most influential Armenian singers with his unique style of singing, evoking Anatolian Armenian sound in America. Onnik Dinkjian’s family was from Diyarbakır/Dikranagert and they had to leave the country after 1915. Onnik Dinkjian was born in France and never saw his homeland until he was seventy-five. Yet he grew up in a neighborhood of Dikranagertsi Armenians listening to the stories and songs of his ‘home.’ Ara Dinkjian is a highly celebrated figure of the world music and one of the top oud players in the world. His compositions have been recorded in many different languages by top singers and musicians throughout the world.
Garod begins with the encounters of Onnik and Ara Dinkjian in Diyarbakır, a city that has become a constitutive part of their identity. Tracing past and musical lives of these musicians, the documentary lays a bridge to Diyarbakır. Garod tells the stories of Onnik and Ara through their connections to Diyarbakır, Anatolia, Armenian Church music, and also musical relations with Sid Clark, Arto Tunçboyaciyan, Night Ark, Eleftheria Arvanitaki, Sezen Aksu, Kardeş Türküler and Ahmet Kaya. The documentary passes through different geographies and countries following the traces of a musical tradition. In this documentary, Garod means not only longing for loss but also remaking of a musical tradition and the life itself.
DIRECTORS Onur Günay, Burcu Yıldız
EDITING Elif Ergezen, Onur Günay, Burcu Yıldız
SOUND DESIGN AND MIX Fuat Güney
LANGUAGE English-Armenian
SUBTITLES Turkish and English
DURATION 52 dk./52 min.
Onnik Dinkjian is one of the most influential Armenian singers with his unique style of singing, evoking Anatolian Armenian sound in America. Onnik Dinkjian’s family was from Diyarbakır/Dikranagert and they had to leave the country after 1915. Onnik Dinkjian was born in France and never saw his homeland until he was seventy-five. Yet he grew up in a neighborhood of Dikranagertsi Armenians listening to the stories and songs of his ‘home.’ Ara Dinkjian is a highly celebrated figure of the world music and one of the top oud players in the world. His compositions have been recorded in many different languages by top singers and musicians throughout the world.
Garod begins with the encounters of Onnik and Ara Dinkjian in Diyarbakır, a city that has become a constitutive part of their identity. Tracing past and musical lives of these musicians, the documentary lays a bridge to Diyarbakır. Garod tells the stories of Onnik and Ara through their connections to Diyarbakır, Anatolia, Armenian Church music, and also musical relations with Sid Clark, Arto Tunçboyaciyan, Night Ark, Eleftheria Arvanitaki, Sezen Aksu, Kardeş Türküler and Ahmet Kaya. The documentary passes through different geographies and countries following the traces of a musical tradition. In this documentary, Garod means not only longing for loss but also remaking of a musical tradition and the life itself.
This course draws on anthropology, history, critical theory, films and documentaries, and imaginative literature to explore violence, its power and meaning. We will explore conquest and colonialism, genocidal violence, state violence and political resistance, everyday violence, gendered violence, racialization, torture, as well as witnessing and repair. Building across disciplines and working with heterodox theoretical frameworks (post-colonial/decolonial, non-Western, feminist, and indigenous approaches), this course is an invitation to understand violence in its multifaceted physical, symbolic, social, political and cultural manifestations.
In this course we will read both classic works that shaped the discipline and emerging work today—always with implications for our own research projects in mind. What is the relationship of ethnography to theory? How is anthropology grounded in social theory and political economy of the early 20th century? How have anthropologists deployed key concepts of “culture,” “social structure,” “power,” “colonialism,” or “racial capitalism” to make sense of human universals and the ubiquity of difference? How can we mobilize anthropological theory and concepts to make sense of the world—and our own research projects—today?
This course draws on anthropology, history, critical theory, films and documentaries, and imaginative literature to explore violence, its power and meaning. We will explore conquest and colonialism, genocidal violence, state violence and political resistance, everyday violence, gendered violence, racialization, torture, as well as witnessing and repair. Building across disciplines and working with heterodox theoretical frameworks (post-colonial/decolonial, non-Western, feminist, and indigenous approaches), this course is an invitation to understand violence in its multifaceted physical, symbolic, social, political and cultural manifestations.