Monday, December 21, 2009
Thursday, November 19, 2009
Rewind- Mardin
The rest of the people on the bus were going further on, somewhere nearer to Syria and Iraq. The bus driver and attendant were talking, trying to figure out where to drop me. They decided to drop me out of town, guess the others’ interests won over the tourist’s. That’s fine, guess it should be that way if any.
I walked for half an hour up into the hillside town of Mardin. After a while, it became obvious it was gonna be a while, so I decided to ask a taxi for a ride into town. It turns out he was just dropping off and was still hired out, but the nice woman who had hired him offered to take me with them. For the next half hour, she stalled her plans and helped me find a hotel. The first two were much too expensive, and she had the idea to go a little out of town for a better price. On the way to the next hotel, she told me of the people I’d find in Mardin. Syrian Druze Christians, some of whom still used Aramaic, the language of Jesus, in their religious services. Syrian and Iraqi Muslims who spoke Arabic. Kurds speaking…Kurdish, and Turkmen who spoke the country tongue, but there weren’t many there she said. She was Syrian and Muslim, she was married to a Kurdish man, and she could speak English, Arabic, Kurdish and Turkish. “Can you speak any other languages“, she asked? “No” I had to reply, with some shame. (Along with the general language barrier on this trip, reminding me of ours at home, interactions like this finally drove me to start to learn Spanish.) When we arrived, she went inside to make sure of the price for me, and then bid me farewell, not accepting any money for the taxi. The smiles were genuine; Never did she get exasperated at her time being wasted. It was an extremely generous act. During these great times as a traveler, you’re treated as a fellow human, in fact, an honored guest. Different yes, but with respect, that never has to be a troublesome difference, it can be something that both people learn from.
After cleaning up, I took the bus back up into the white sandstone of Mardin. The town is famous for it’s architecture ornately carved from the soft white stone found in the region. There were dozens of intricately carved mosques and buildings, and the sight of these buildings and spires spilling down the hill into the endless view of the Mesopotamian is unforgettable.
While walking down the main street, I eyed a sign for a café, so I followed the narrow passageway between buildings till at the end it opened up into an unbelievable view onto the never ending plains. I plopped down, the sound of Arabic orchestras playing on the stereo- a sign of what was to come- and ordered a tea. I sat there as long as I could, staring at the green sea of land and all it’s history. Past the white spire of the Camii into Syria and beyond, as the sun sank and the muezzin called out into the fading light.
On my way home that night I passed by a shop whose steps dropped down into an area dominated by a blazing hot brick oven. The men had an operation going. One kneaded the dough, one used the long wooden paddle to place the dough in the oven, one waited for the finished bread and prepared them for sale, and another rushed off with the bread somewhere. No matter what time of day, it seemed bread places were busy baking. And once made, steaming bread would often be shuttled off to a nearby restaurant or store. The rest was sold at the shop, again, usually to shop owners coming to get bread for their store. Bread was no joking matter here, and all places needed fresh bread to serve to their customers. This place was making an oblong, flat, pizza style bread. The men, seeing my curiosity, waved at me to come in. While keeping busy and smiling, they asked me where I was from and joked with me, calling me San Francisco for the rest of the few minutes I was there. They gave me a fresh piece right out of the huge brick oven. “Hey, San Francisco, for you, beaucoup, beaucoup.” I shot a quick video of them while they worked and joked, and started chompin’ on the hot bread. It was amazing!
The next day, after exploring the uppermost part of the town, underneath the Citadel, I made my way back through town. I passed a CD shop where one man was playing baglama and the other singing and drumming. I doubled back, nodded to them as they sang, and shot a video. The man sang soulfully, and the song was memorable, so much so that I was humming it even as I left town.
Farther down the road, there was a little instrument shop with uds, baglamas, a cumbus, even a violin. The only person there was a teenage kid. After I tooled around a little, he wanted to help me. We took turns playing all the instruments. I would attempt to play them first, then he would, with a real sense of command, pluck something out that sounded about as bad as me. It cracked me up though after I played some violin for him. He didn’t seem so pleased with my ability, and grabbed it from me and scratched some sounds out. This kid was on it.
And not the only kid in town that was on it-
Earlier that day, I had asked about bus tickets out of town. I thought if I planned one day in advance I’d be alright ‘cause you could usually get a ticket for the same day without a problem. At 10 in the morning, the man at a major company said there were no tickets for tomorrow, and that the day after would be the soonest I could get on a bus. He said it dismissively though, and so I wondered what was up. As I checked bus company after company, all told me the same, but it seemed like they were answering really quickly, not even checking their log or computers. So I decided to ask later in the main part of town, the more touristy part. I saw a ticket office for the same major company I had checked before, and decided to try. I went in, but a kid of maybe 11 or 12 was at the desk. I asked if the owner was in. He said no, but he could help. He smiled, as I thought that I wasn’t gonna have any luck with the buses that day. I told him I wanted a ticket for tomorrow to Sanliurfa. He said one moment, called the main office, made sure there was room, and sold me a ticket. I was in disbelief, but laughed at the ridiculousness of it and gave him a high five. In Turkey, it was turning out the most capable people were kids. Even many of the kids I met on the street had a comfortable, easy confidence and would approach me just wanting to talk, to find out what I was doing there. They were the nicest and often the most helpful if I ever needed directions, and I guess the best at selling bus tickets… and playing violin of course.
I walked for half an hour up into the hillside town of Mardin. After a while, it became obvious it was gonna be a while, so I decided to ask a taxi for a ride into town. It turns out he was just dropping off and was still hired out, but the nice woman who had hired him offered to take me with them. For the next half hour, she stalled her plans and helped me find a hotel. The first two were much too expensive, and she had the idea to go a little out of town for a better price. On the way to the next hotel, she told me of the people I’d find in Mardin. Syrian Druze Christians, some of whom still used Aramaic, the language of Jesus, in their religious services. Syrian and Iraqi Muslims who spoke Arabic. Kurds speaking…Kurdish, and Turkmen who spoke the country tongue, but there weren’t many there she said. She was Syrian and Muslim, she was married to a Kurdish man, and she could speak English, Arabic, Kurdish and Turkish. “Can you speak any other languages“, she asked? “No” I had to reply, with some shame. (Along with the general language barrier on this trip, reminding me of ours at home, interactions like this finally drove me to start to learn Spanish.) When we arrived, she went inside to make sure of the price for me, and then bid me farewell, not accepting any money for the taxi. The smiles were genuine; Never did she get exasperated at her time being wasted. It was an extremely generous act. During these great times as a traveler, you’re treated as a fellow human, in fact, an honored guest. Different yes, but with respect, that never has to be a troublesome difference, it can be something that both people learn from.
After cleaning up, I took the bus back up into the white sandstone of Mardin. The town is famous for it’s architecture ornately carved from the soft white stone found in the region. There were dozens of intricately carved mosques and buildings, and the sight of these buildings and spires spilling down the hill into the endless view of the Mesopotamian is unforgettable.
While walking down the main street, I eyed a sign for a café, so I followed the narrow passageway between buildings till at the end it opened up into an unbelievable view onto the never ending plains. I plopped down, the sound of Arabic orchestras playing on the stereo- a sign of what was to come- and ordered a tea. I sat there as long as I could, staring at the green sea of land and all it’s history. Past the white spire of the Camii into Syria and beyond, as the sun sank and the muezzin called out into the fading light.
Mardin Muezzin Mesopotamian from Jason Williams on Vimeo.
I laid down 2 Liras for the tea and tip, and ventured back out into Mardin. I strolled and looked at the food in the restaurants. If you looked into a restaurant in Turkey, invariably someone would yell c’mon, or what sounded like “bweedung“. It was an invitation, a plea, a demand. Basically they wanted you in there. I got pulled in by a man with his family milling around what looked like delicious food. It was, and it was nice talking with them as much as language would allow. The son started playing music over his phone which sounded nice, so I asked him who it was. I wrote the name down in my notebook by the dozens of other recommendations I had gathered from people throughout the country. I can’t wait to start hunting down their music on the net when I get home, rediscovering the amazing sounds I heard in Turkey.On my way home that night I passed by a shop whose steps dropped down into an area dominated by a blazing hot brick oven. The men had an operation going. One kneaded the dough, one used the long wooden paddle to place the dough in the oven, one waited for the finished bread and prepared them for sale, and another rushed off with the bread somewhere. No matter what time of day, it seemed bread places were busy baking. And once made, steaming bread would often be shuttled off to a nearby restaurant or store. The rest was sold at the shop, again, usually to shop owners coming to get bread for their store. Bread was no joking matter here, and all places needed fresh bread to serve to their customers. This place was making an oblong, flat, pizza style bread. The men, seeing my curiosity, waved at me to come in. While keeping busy and smiling, they asked me where I was from and joked with me, calling me San Francisco for the rest of the few minutes I was there. They gave me a fresh piece right out of the huge brick oven. “Hey, San Francisco, for you, beaucoup, beaucoup.” I shot a quick video of them while they worked and joked, and started chompin’ on the hot bread. It was amazing!
She's a Brick...Oven, Mardin from Jason Williams on Vimeo.
I thanked them as they joked, and finished the whole piece of bread on the walk back home, even though I had just eaten a full dinner. Some things you just got to have, right then, even if you pay for it later.The next day, after exploring the uppermost part of the town, underneath the Citadel, I made my way back through town. I passed a CD shop where one man was playing baglama and the other singing and drumming. I doubled back, nodded to them as they sang, and shot a video. The man sang soulfully, and the song was memorable, so much so that I was humming it even as I left town.
Mardin Music from Jason Williams on Vimeo.
When they finished, I asked them if that was some of the music from around Mardin, which I had been told was revered throughout Turkey. They said yes, and pointed to a CD of Kerim, a Mardin musician. The same, they said. I bought it, and it’s one of the best Cds I picked up on my trip. The music is based around the idea of a geceleri, a tradition found in the southeastern part of Turkey, in areas with a more Kurdish and Arabic influence. It essentially means night music, but the tradition comes from groups of men gathering around at night and taking turns singing songs they know. The sessions can go all night into the morning, and it takes on a hypnotic feel. Although it strongly reminded me of nighttime sessions of folk musicians in the rural parts of the U.S., I think the difference is the essence of the music played. The example of a geceleri that I saw was also about getting into the feeling of the moment, and a singer could improvise as long as he wanted or needed, singing one word over and over. It was almost meditative. This expressive, plaintive aspect is actually something that struck me about Kurdish music in particular.Farther down the road, there was a little instrument shop with uds, baglamas, a cumbus, even a violin. The only person there was a teenage kid. After I tooled around a little, he wanted to help me. We took turns playing all the instruments. I would attempt to play them first, then he would, with a real sense of command, pluck something out that sounded about as bad as me. It cracked me up though after I played some violin for him. He didn’t seem so pleased with my ability, and grabbed it from me and scratched some sounds out. This kid was on it.
And not the only kid in town that was on it-Earlier that day, I had asked about bus tickets out of town. I thought if I planned one day in advance I’d be alright ‘cause you could usually get a ticket for the same day without a problem. At 10 in the morning, the man at a major company said there were no tickets for tomorrow, and that the day after would be the soonest I could get on a bus. He said it dismissively though, and so I wondered what was up. As I checked bus company after company, all told me the same, but it seemed like they were answering really quickly, not even checking their log or computers. So I decided to ask later in the main part of town, the more touristy part. I saw a ticket office for the same major company I had checked before, and decided to try. I went in, but a kid of maybe 11 or 12 was at the desk. I asked if the owner was in. He said no, but he could help. He smiled, as I thought that I wasn’t gonna have any luck with the buses that day. I told him I wanted a ticket for tomorrow to Sanliurfa. He said one moment, called the main office, made sure there was room, and sold me a ticket. I was in disbelief, but laughed at the ridiculousness of it and gave him a high five. In Turkey, it was turning out the most capable people were kids. Even many of the kids I met on the street had a comfortable, easy confidence and would approach me just wanting to talk, to find out what I was doing there. They were the nicest and often the most helpful if I ever needed directions, and I guess the best at selling bus tickets… and playing violin of course.
Sunday, November 8, 2009
Rewind- Diyarbakir
I took the bus from Rize, through Trabzon again, and for another 10 hours or so into Erzurum, in the middle of the eastern part of Anatolia. It was 5 AM when we arrived and dead cold. In the steely shadows of first light, I could see the outlines of mountains. As I learned later, this was the hilly part of Turkey, and people came here to go to a famous ski resort nearby. As it was 5 AM, there was hardly anyone in the bus station, and no bus companies were open, but I was supposed to transfer there to be able to get into Diyarbakir. I waited around for about an hour in the cold, unwelcoming hall, then the companies started to open. I got a ticket, then headed into town to try to get breakfast. I was only able to spend a few hours in Erzurum, but the view of the open plains into the mountains from the viewpoint of the old kale, or fortress, was unforgettable. It reminded me of pictures of the steppes and plains of the Silk Road, with landscapes of vast, open stretches of land. This makes sense, because this area of Turkey, with access to the Persian world, would have been on that route. I know for sure that part of the Silk Road network of routes went through the Black Sea area (including Trabzon) to the north. And possibly to the south, where caravans coming from the Arabic routes, through the Mesopotamian plains in present day Iraq and Syria or following the Mediterranean, might enter into Anatolia.
After a few hours I headed back to catch the bus, and after another dull, numb 6 hours later, I found myself on the outskirts of Diyarbakir. On the way into town, the bus pulled up beside a tank and swiveling gunner, who had his gun at the ready. It seemed some of the problems of the past between the Kurds and Turkish government had left some lasting effects. In addition, it was noticeably different than any of the other towns I had been in throughout Turkey. I had been told it was more Arabic, so that’s what I noticed first.
In retrospect, there were so many things that I experienced in this Kurdish part of the world, and this was my first view, my first experience with them. Diyarbakir is considered by Kurds to be their de-facto capital, and the Kurdish population spreads from this southeastern area of Turkey into the northern parts of Syria and Iraq. So the population fluxes within and through, with Diyarbakir serving as the major city.
The food was supposed to be very good here, and the kebab plates were supposed to be famous throughout the country. I have to admit, they were good- Kebabs of beef, lamb or chicken served with rice, char grilled peppers, onion, herbs like cilantro or mint with tomato, and hot, fresh bread. The dessert shops were very good here too, and I made up for lost time by eating as much baklava and related desserts as possible. For some reason, up till then, I hadn’t rocked the desserts.
I was approached during a meal by two guys who were very friendly, but just a little too friendly. It became obvious they were guides trying to make some money off of tourists. But they were nice and interesting guys, and both were named Merhat. One had worked in the Green zone as an interpreter, and kept joking with me, saying American colloquialisms- swearing a lot of course, saying things like “what‘s up man?”- He thought it was funny, so it was. The other Merhat was a charismatic guy that liked to joke around too, and during the conversation he let it be known that he could take me around the city the next day as a friend (guide, of course). We agreed to meet up around 9. I figured it was a little too nice of him to want to take me around the city for free, so I expected it when he started talking about price. He said he was a full time student, but in his off time he did tours for foreigners for some extra money, as his English was pretty good. I told him he should have mentioned that the night before, and that it’s fine, so I agreed to pay him 30 Turkish Lira($20) for a few hours around town. I didn’t want to be taken around to the mosques and tourist sites however, so I asked him to take me to a barber, a CD shop, and the Dengbeas house- a place where old Kurdish men sang- a place that he had mentioned the night before. He was noticeably thrown by this (I took this as a good sign), and was a little ticked for the rest of the time we hung out, trying to quicken up the pace so he could get to another tourist and his established routine, but I didn’t care much. To find great Cds with a local’s recommendation (music I‘m listening to right now), go to a cheap barber in the cuts of the souq, and wind up listening to old men recount tales while singing was extraordinary. Definitely worth it even if he did cut out early, telling me he’d meet me later. He didn’t of course, but oh well.
The barber experience was great. Merhat was able to tell him in Kurdish what I wanted, but it still turned out with a definite Kurdish look. And we joked that I should leave a mustache, to look like a real Kurdish man. Instead though I got an open razor shave, for the first time in my life. I said a whole hearted goodbye to the nice man as we left- maybe there’s a trust gained and a friendship started when somebody has a sharp blade to your throat and they don’t kill you, but rather make you look better.
The men at the Dengbeas house were something to see, and hear. They would interchange between singing and talking as if they weren’t different things at all. As I learned, this lone, a cappella singing is a Kurdish tradition, and usually reserved for the older men. Because Merhat took off after a only a few minutes, I had no translator there to know what the men were saying, but they made me feel comfortable anyway. They gave me tea and just continued singing and talking, sometimes as if I wasn’t there. We tried to talk, but the men knew it was futile, so we just joked a little, and they went about their business. What that did was allow me to be an observer, or spectator for something special, while actually being there in the moment. When they talked, I was able to notice the rhythm and music of it, and when they sang I could sit back and be in wonder, losing myself in the exotic sounds. I shot a few videos of them. Here they are talking:
After a while it was time to leave. The nice man who was serving tea there wouldn’t let me pay for the tea, and I shook all the men’s hands on the way out. That experience gets even better as I look back, it was lucky to be able to see them.
The majority of the rest of my time in Diyarbakir was spent getting lost along random city alleyways and neighborhoods- stopping to eat at least once an hour- and getting a superficial glimpse of how they lived there. Kids playing outside the houses with the women watching from the doorstep, old men in the baggy, Arabic style pants on their way somewhere, me trying not to take pictures and move seamlessly, almost un-noticeably through. That was of course impossible, but I was always greeted with a smile or a quick non-judgmental glance before they got on with their life.
In the afternoon I walked along the huge Roman era city walls that extended for 6 km around and through the current city. A truly impressive site, and there was a nice park on either side of the walls with shade, trees, benches and playgrounds. As I sat, wrote and observed, I saw men quickly making their way through the park carrying glasses on a platter dangling from wires. I had seen this before in other parts of the country. It turns out it’s tea, and they were making runs through the park from local cafes. Damn, if that country doesn’t know how to do tea, I don’t know who does. It seems you could be anywhere and a guy with a glass of tea would pop up. Fuckin’ great concept- you don’t always need to go into a café for a quick cup of tea. In this case, if you’re thirsty when he makes his round, he would give you the glass, you pay, he leaves, and if your done before he returns you just leave the glass on the bench and he picks it up later. I’d love to bring this concept of tea and coffee to the U.S.- in a park might be pushing it, but cheap, good, smaller glasses of caffeine in a café would be a nice answer to the over-caffeinated cup of coffee, the super-sized coffee to go, and especially the latest tea bag from a box, served to you with some hot water in a paper cup. But this is highly dependent on the culture. People in Turkey enjoy tea like this 3 or 4 times a day. In small doses, a sweet glass of tea affords a break, or a pick me up, and it’s also an appreciated and ingrained habit in their culture. I don’t know if it would work in the states- we have our ways.
It was in this park, after some tea and while taking a damned picture of the walls, that I dropped my camera right on the lens. It was to doggedly hang on for a couple more towns, before crucial pieces of the lens housing started to fall off. But really, that doesn’t tend to be good for cameras, combining it with concrete.
So the next day, after a night of more eating, including much more baklava and delicious desserts, I made my way out of town, towards a city called Mardin. At the dusty, back alley bus station, while waiting and sipping on some tea from the café attached (of course), I noticed the people. It definitely seemed to me like some of these people were Iraqi. I realized that in heading to Mardin, I was heading towards an area not too far away from the Iraqi border. Also, Diyarbakir was sure to be a nexus of activity for Kurdish Iraqis, and many other Iraqi refugees for that matter. I thought this might be the closest feel I would get to Iraq. Crazy to think of, of course, and an incredibly heavy feeling.
So out of Diyarbakir, and across the expansive and endless plains of wheat. The post harvest clearing fires burning in the hazy distance, we made our way towards Iraq and Syria and the plains of the Mesopotamia.
After a few hours I headed back to catch the bus, and after another dull, numb 6 hours later, I found myself on the outskirts of Diyarbakir. On the way into town, the bus pulled up beside a tank and swiveling gunner, who had his gun at the ready. It seemed some of the problems of the past between the Kurds and Turkish government had left some lasting effects. In addition, it was noticeably different than any of the other towns I had been in throughout Turkey. I had been told it was more Arabic, so that’s what I noticed first.
In retrospect, there were so many things that I experienced in this Kurdish part of the world, and this was my first view, my first experience with them. Diyarbakir is considered by Kurds to be their de-facto capital, and the Kurdish population spreads from this southeastern area of Turkey into the northern parts of Syria and Iraq. So the population fluxes within and through, with Diyarbakir serving as the major city.
The food was supposed to be very good here, and the kebab plates were supposed to be famous throughout the country. I have to admit, they were good- Kebabs of beef, lamb or chicken served with rice, char grilled peppers, onion, herbs like cilantro or mint with tomato, and hot, fresh bread. The dessert shops were very good here too, and I made up for lost time by eating as much baklava and related desserts as possible. For some reason, up till then, I hadn’t rocked the desserts.
I was approached during a meal by two guys who were very friendly, but just a little too friendly. It became obvious they were guides trying to make some money off of tourists. But they were nice and interesting guys, and both were named Merhat. One had worked in the Green zone as an interpreter, and kept joking with me, saying American colloquialisms- swearing a lot of course, saying things like “what‘s up man?”- He thought it was funny, so it was. The other Merhat was a charismatic guy that liked to joke around too, and during the conversation he let it be known that he could take me around the city the next day as a friend (guide, of course). We agreed to meet up around 9. I figured it was a little too nice of him to want to take me around the city for free, so I expected it when he started talking about price. He said he was a full time student, but in his off time he did tours for foreigners for some extra money, as his English was pretty good. I told him he should have mentioned that the night before, and that it’s fine, so I agreed to pay him 30 Turkish Lira($20) for a few hours around town. I didn’t want to be taken around to the mosques and tourist sites however, so I asked him to take me to a barber, a CD shop, and the Dengbeas house- a place where old Kurdish men sang- a place that he had mentioned the night before. He was noticeably thrown by this (I took this as a good sign), and was a little ticked for the rest of the time we hung out, trying to quicken up the pace so he could get to another tourist and his established routine, but I didn’t care much. To find great Cds with a local’s recommendation (music I‘m listening to right now), go to a cheap barber in the cuts of the souq, and wind up listening to old men recount tales while singing was extraordinary. Definitely worth it even if he did cut out early, telling me he’d meet me later. He didn’t of course, but oh well.
The barber experience was great. Merhat was able to tell him in Kurdish what I wanted, but it still turned out with a definite Kurdish look. And we joked that I should leave a mustache, to look like a real Kurdish man. Instead though I got an open razor shave, for the first time in my life. I said a whole hearted goodbye to the nice man as we left- maybe there’s a trust gained and a friendship started when somebody has a sharp blade to your throat and they don’t kill you, but rather make you look better.
The men at the Dengbeas house were something to see, and hear. They would interchange between singing and talking as if they weren’t different things at all. As I learned, this lone, a cappella singing is a Kurdish tradition, and usually reserved for the older men. Because Merhat took off after a only a few minutes, I had no translator there to know what the men were saying, but they made me feel comfortable anyway. They gave me tea and just continued singing and talking, sometimes as if I wasn’t there. We tried to talk, but the men knew it was futile, so we just joked a little, and they went about their business. What that did was allow me to be an observer, or spectator for something special, while actually being there in the moment. When they talked, I was able to notice the rhythm and music of it, and when they sang I could sit back and be in wonder, losing myself in the exotic sounds. I shot a few videos of them. Here they are talking:
The Rhythm of Talking from Jason Williams on Vimeo.
And singing:Aww Dengbeas! from Jason Williams on Vimeo.
At the Dengbeas House from Jason Williams on Vimeo.
After a while it was time to leave. The nice man who was serving tea there wouldn’t let me pay for the tea, and I shook all the men’s hands on the way out. That experience gets even better as I look back, it was lucky to be able to see them.
The majority of the rest of my time in Diyarbakir was spent getting lost along random city alleyways and neighborhoods- stopping to eat at least once an hour- and getting a superficial glimpse of how they lived there. Kids playing outside the houses with the women watching from the doorstep, old men in the baggy, Arabic style pants on their way somewhere, me trying not to take pictures and move seamlessly, almost un-noticeably through. That was of course impossible, but I was always greeted with a smile or a quick non-judgmental glance before they got on with their life.
In the afternoon I walked along the huge Roman era city walls that extended for 6 km around and through the current city. A truly impressive site, and there was a nice park on either side of the walls with shade, trees, benches and playgrounds. As I sat, wrote and observed, I saw men quickly making their way through the park carrying glasses on a platter dangling from wires. I had seen this before in other parts of the country. It turns out it’s tea, and they were making runs through the park from local cafes. Damn, if that country doesn’t know how to do tea, I don’t know who does. It seems you could be anywhere and a guy with a glass of tea would pop up. Fuckin’ great concept- you don’t always need to go into a café for a quick cup of tea. In this case, if you’re thirsty when he makes his round, he would give you the glass, you pay, he leaves, and if your done before he returns you just leave the glass on the bench and he picks it up later. I’d love to bring this concept of tea and coffee to the U.S.- in a park might be pushing it, but cheap, good, smaller glasses of caffeine in a café would be a nice answer to the over-caffeinated cup of coffee, the super-sized coffee to go, and especially the latest tea bag from a box, served to you with some hot water in a paper cup. But this is highly dependent on the culture. People in Turkey enjoy tea like this 3 or 4 times a day. In small doses, a sweet glass of tea affords a break, or a pick me up, and it’s also an appreciated and ingrained habit in their culture. I don’t know if it would work in the states- we have our ways.
It was in this park, after some tea and while taking a damned picture of the walls, that I dropped my camera right on the lens. It was to doggedly hang on for a couple more towns, before crucial pieces of the lens housing started to fall off. But really, that doesn’t tend to be good for cameras, combining it with concrete.
So the next day, after a night of more eating, including much more baklava and delicious desserts, I made my way out of town, towards a city called Mardin. At the dusty, back alley bus station, while waiting and sipping on some tea from the café attached (of course), I noticed the people. It definitely seemed to me like some of these people were Iraqi. I realized that in heading to Mardin, I was heading towards an area not too far away from the Iraqi border. Also, Diyarbakir was sure to be a nexus of activity for Kurdish Iraqis, and many other Iraqi refugees for that matter. I thought this might be the closest feel I would get to Iraq. Crazy to think of, of course, and an incredibly heavy feeling.
So out of Diyarbakir, and across the expansive and endless plains of wheat. The post harvest clearing fires burning in the hazy distance, we made our way towards Iraq and Syria and the plains of the Mesopotamia.
Tuesday, November 3, 2009
Rewind- Rize
I took the bus, a one hour ride into Rize in the late morning, expecting a small town with tea fields surrounding it, the moist leaves glittering in the sun, people playing kemence and tulum while they pick tea berries. Why wasn’t anyone waiting with a cup of tea for me when I stepped off the bus?
Instead I was greeted with reality- more urban sprawl, and the bus dropped us off at a central location, with the lunch crowd coming and going- me lumbering down the sidewalk with my heavy backpack and violin, running into people and things. I was unpleasantly surprised, and started looking for a hotel. Rize wasn’t in my guidebook so I had no map, but I had assumed it was going to be easy to find somewhere to stay. After looking around for 30 minutes with no luck, I decided to take a break, put my things down, and just grab something to eat. This had become a habit of mine when I got into unfamiliar towns. Get something to eat, relax for a second, then ask the people working there for advice, or how to get to my next destination. But it was during that lunch, on a bench in a park, that I decided to bolt. The money was starting to go fast on this trip, and I came to Rize because I thought it was a small town that I could easily find music in. Instead it was more of the same city atmosphere. It would have taken much more concerted planning and money to get into the mountains where the traditional Laz culture and music was, but from a park bench, not possible. Of course, the more time spent somewhere the more you discover, but I was trying to reconcile this idea with a limited amount of money. So after a think, I went to the bus station and got a ticket for that night at 8. I would start heading down into eastern Anatolia overnight into the next day. But that meant I had all day, so I could explore Rize a little…
With all my things, I headed back into town, and with a little luck saw a tourism office. The nice man there gave me a few suggestions. I asked about music shops, and he pointed me towards one around the corner. As I walked in, the karsilama music thumped- two men were listening to a CD they might buy. It was the fast-paced, danceable kemence driven music, frenetic and repetitive. So far, I had noticed two distinct types of horon (the traditional Laz dance) music in the region- the more lyrical, with one person playing and sometimes singing, then the very fast paced kind with a full band or programmed loops laid down for extended 20 or 30 minute songs. This was definitely the former playing. I had also heard a form of music called havalari, with electric baglama carrying the lead in long, almost hyper songs. One young lady jokingly said it made them dance like crazy people, and that they loved it. It might have been like the rock music of those parts. This particular shop had instruments, mostly baglama and a few kemence. As with most other stores, the kemence were cheaply made, but playable. I took a look-see, but I had made my mind up to get one online later. So I hung out for a while, checking out CDs and enjoying the music overhead. Eventually, I asked the owner for his recommendation, and ended up with two great traditional tulum and kemence Cds.
I decided to take tourism man’s suggestion next and head out of town a little to the organic tea gardens. After waiting for the bus for a few minutes, I figured why not try and walk it up the hill, I needed some exercise. On my way up, I saw a small place with “Turku Keyfi” spelled out in lights. It also said baglama e guitar, so I figured it was a music venue. Looking inside, it was dark; must open later I thought, so on up the hill I went. It was a workout to say the least, but I was rewarded with great views of the surrounding hills around Rize. Every possible piece of land was covered with tea plants- around trees, houses, up the steepest incline, entire hills were terraced and cultivated. I got a real sense of the importance of tea in this region. Apparently, the tea is grown in the mountains and Rize serves as a center of processing and selling the finished product. Or it was that way, however now it seems Rize has also taken on a life of it’s own.
While I was in the gardens it quickly became overcast and it started to rain heavily- it seemed to fit the place perfectly. I looked out onto the Karadeniz (the Black Sea), and the gray clouds, dark blue water, trees and tea plants all made sense. I grabbed some tea and enjoyed the rain under cover of the café there during the storm. I noticed the tea kettle they used was like Basak had used in Canakkale. It had the steeped tea on a top section, with extra water in the bottom that you could reheat and combine with the tea in someone’s glass when serving. Brilliant, I was loving the different ways of serving caffeine in this country.
After a while, there was a break in the clouds, so I decided to head out. As I made my way down the hill, it started to rain again suddenly, and hard. I went from awning to tree to awning, and on my way down I passed the music place again. I saw a light on, so I went nearer to look- I saw people, but no one playing. As I turned to leave, a guy popped out to use his cell phone. He saw my violin and said “You play?”
“Yes, but I was just looking.”
“Come in, come in.”
Why not I thought, maybe the music would start in a second. What happened in the next hour or so was great. All the conversations were limited, but we got basic ideas across. The guy outside was Caglar, and his friend was Murat. They were the musicians that played there, Caglar on guitar and Murat on baglama. There was also Caglar’s dad, a woman in her 30‘s, and a couple younger guys working there. They asked if I was hungry, and ordered me a pizza from next door and got me a water. They explained that the music didn’t start until 7, but they said we should play something in the mean time- so I broke out my violin. They asked if I knew any Turkish songs, so I tried to play the few that I knew. And after I asked about the kemence and tulum music, they asked me to play some of my country’s dancing songs, so I played some up tempo bluegrass, foot stomps and all. They liked it.
The woman working there was very charismatic and had a great smile. She seemed very funny, and she was trying to tell me something, but the language barrier was too big. She was interacting with us all, telling jokes it seemed, while keeping busy with her work preparing the bar, but when we all starting playing music, she came over and started to sing Turkish songs. When she sang, she looked directly at me, not averting her glance from my eyes. I was drawn into the song, to her eyes. I had to peel away my glance a couple times out of habit. But unlike home, there was no fear there, or any consequences to looking someone in the eyes. She was just whole heartedly singing a song to me. It was enchanting, I’ll never forget it. How much this attitude of hers has to do with the Laz culture, I don’t know. While the ethnic makeup of this region is very diverse, the Laz are a majority. I was told the Laz were less strict in their observance of customs like veils for women, etc.. Whether this more relaxed attitude played into interactions between men and women, I don’t know, maybe. But I do know that the Laz culture is where most of the musical traditions come from in this area. It’s another pocket of culture, truly different than any other part of the country. And that variety, in turn, is what makes this country so interesting.
The guys wanted to play one of their songs. I think it was Caglar’s, he carried it on classical guitar. It had a driving, almost flamenco rhythm, but his singing had a soulful, Turkish feel. Murat interjected with baglama runs in the singing breaks. I filled in whenever it seemed appropriate. They wanted to shoot a quick video to put on their facebook page, and I took the chance to shoot one myself. I posted it on a previous post, check it out. Then, that quickly, it was time for me to go in order to catch my bus. I thought about staying and sticking with the experience, but they had a show to play, and I stuck with my original plan. They insisted on driving me to the station, delaying their show a little. How f’n nice those guys, a great experience. And I think back now- if I hadn’t been on my way out of town, with all my crap, violin included, this experience wouldn’t have happened. I took it as a sign that I was supposed to leave, and that it was supposed to happen that way. So like that, I left Rize and the Black Sea Coast, on my way into the completely different worlds of eastern and southern Anatolia.
Instead I was greeted with reality- more urban sprawl, and the bus dropped us off at a central location, with the lunch crowd coming and going- me lumbering down the sidewalk with my heavy backpack and violin, running into people and things. I was unpleasantly surprised, and started looking for a hotel. Rize wasn’t in my guidebook so I had no map, but I had assumed it was going to be easy to find somewhere to stay. After looking around for 30 minutes with no luck, I decided to take a break, put my things down, and just grab something to eat. This had become a habit of mine when I got into unfamiliar towns. Get something to eat, relax for a second, then ask the people working there for advice, or how to get to my next destination. But it was during that lunch, on a bench in a park, that I decided to bolt. The money was starting to go fast on this trip, and I came to Rize because I thought it was a small town that I could easily find music in. Instead it was more of the same city atmosphere. It would have taken much more concerted planning and money to get into the mountains where the traditional Laz culture and music was, but from a park bench, not possible. Of course, the more time spent somewhere the more you discover, but I was trying to reconcile this idea with a limited amount of money. So after a think, I went to the bus station and got a ticket for that night at 8. I would start heading down into eastern Anatolia overnight into the next day. But that meant I had all day, so I could explore Rize a little…
With all my things, I headed back into town, and with a little luck saw a tourism office. The nice man there gave me a few suggestions. I asked about music shops, and he pointed me towards one around the corner. As I walked in, the karsilama music thumped- two men were listening to a CD they might buy. It was the fast-paced, danceable kemence driven music, frenetic and repetitive. So far, I had noticed two distinct types of horon (the traditional Laz dance) music in the region- the more lyrical, with one person playing and sometimes singing, then the very fast paced kind with a full band or programmed loops laid down for extended 20 or 30 minute songs. This was definitely the former playing. I had also heard a form of music called havalari, with electric baglama carrying the lead in long, almost hyper songs. One young lady jokingly said it made them dance like crazy people, and that they loved it. It might have been like the rock music of those parts. This particular shop had instruments, mostly baglama and a few kemence. As with most other stores, the kemence were cheaply made, but playable. I took a look-see, but I had made my mind up to get one online later. So I hung out for a while, checking out CDs and enjoying the music overhead. Eventually, I asked the owner for his recommendation, and ended up with two great traditional tulum and kemence Cds.
I decided to take tourism man’s suggestion next and head out of town a little to the organic tea gardens. After waiting for the bus for a few minutes, I figured why not try and walk it up the hill, I needed some exercise. On my way up, I saw a small place with “Turku Keyfi” spelled out in lights. It also said baglama e guitar, so I figured it was a music venue. Looking inside, it was dark; must open later I thought, so on up the hill I went. It was a workout to say the least, but I was rewarded with great views of the surrounding hills around Rize. Every possible piece of land was covered with tea plants- around trees, houses, up the steepest incline, entire hills were terraced and cultivated. I got a real sense of the importance of tea in this region. Apparently, the tea is grown in the mountains and Rize serves as a center of processing and selling the finished product. Or it was that way, however now it seems Rize has also taken on a life of it’s own.
While I was in the gardens it quickly became overcast and it started to rain heavily- it seemed to fit the place perfectly. I looked out onto the Karadeniz (the Black Sea), and the gray clouds, dark blue water, trees and tea plants all made sense. I grabbed some tea and enjoyed the rain under cover of the café there during the storm. I noticed the tea kettle they used was like Basak had used in Canakkale. It had the steeped tea on a top section, with extra water in the bottom that you could reheat and combine with the tea in someone’s glass when serving. Brilliant, I was loving the different ways of serving caffeine in this country.
After a while, there was a break in the clouds, so I decided to head out. As I made my way down the hill, it started to rain again suddenly, and hard. I went from awning to tree to awning, and on my way down I passed the music place again. I saw a light on, so I went nearer to look- I saw people, but no one playing. As I turned to leave, a guy popped out to use his cell phone. He saw my violin and said “You play?”
“Yes, but I was just looking.”
“Come in, come in.”
Why not I thought, maybe the music would start in a second. What happened in the next hour or so was great. All the conversations were limited, but we got basic ideas across. The guy outside was Caglar, and his friend was Murat. They were the musicians that played there, Caglar on guitar and Murat on baglama. There was also Caglar’s dad, a woman in her 30‘s, and a couple younger guys working there. They asked if I was hungry, and ordered me a pizza from next door and got me a water. They explained that the music didn’t start until 7, but they said we should play something in the mean time- so I broke out my violin. They asked if I knew any Turkish songs, so I tried to play the few that I knew. And after I asked about the kemence and tulum music, they asked me to play some of my country’s dancing songs, so I played some up tempo bluegrass, foot stomps and all. They liked it.
The woman working there was very charismatic and had a great smile. She seemed very funny, and she was trying to tell me something, but the language barrier was too big. She was interacting with us all, telling jokes it seemed, while keeping busy with her work preparing the bar, but when we all starting playing music, she came over and started to sing Turkish songs. When she sang, she looked directly at me, not averting her glance from my eyes. I was drawn into the song, to her eyes. I had to peel away my glance a couple times out of habit. But unlike home, there was no fear there, or any consequences to looking someone in the eyes. She was just whole heartedly singing a song to me. It was enchanting, I’ll never forget it. How much this attitude of hers has to do with the Laz culture, I don’t know. While the ethnic makeup of this region is very diverse, the Laz are a majority. I was told the Laz were less strict in their observance of customs like veils for women, etc.. Whether this more relaxed attitude played into interactions between men and women, I don’t know, maybe. But I do know that the Laz culture is where most of the musical traditions come from in this area. It’s another pocket of culture, truly different than any other part of the country. And that variety, in turn, is what makes this country so interesting.
The guys wanted to play one of their songs. I think it was Caglar’s, he carried it on classical guitar. It had a driving, almost flamenco rhythm, but his singing had a soulful, Turkish feel. Murat interjected with baglama runs in the singing breaks. I filled in whenever it seemed appropriate. They wanted to shoot a quick video to put on their facebook page, and I took the chance to shoot one myself. I posted it on a previous post, check it out. Then, that quickly, it was time for me to go in order to catch my bus. I thought about staying and sticking with the experience, but they had a show to play, and I stuck with my original plan. They insisted on driving me to the station, delaying their show a little. How f’n nice those guys, a great experience. And I think back now- if I hadn’t been on my way out of town, with all my crap, violin included, this experience wouldn’t have happened. I took it as a sign that I was supposed to leave, and that it was supposed to happen that way. So like that, I left Rize and the Black Sea Coast, on my way into the completely different worlds of eastern and southern Anatolia.
Saturday, October 31, 2009
Rewind- Trabzon
I came here from Capaddocia, where the only musical experience was while hanging out at a café waiting for my food. The music was geared towards the western tourists, and it sucked. Elton John tried his best to be bluesy, soulful. C’mon, leave that to us, Elton. The sights in the region there were surreal, really. And I fought off a little stomach problem, so it was nice to have a room and nice scenery to take short hikes.
So back on a bus, and off to one of the places that I was really looking forward to musically. Another long 11 hour bus ride, and at this point I was getting good at just resigning myself to long hours of complete boredom and uncomfortability. The one redeeming factor on these bus rides was the hand cologne that the attendant would spray on your hands periodically, or after a rest stop. A great smell and truly refreshing after long, stale hours just sitting there. This particular bus ride was different from the start-it was obvious I was going somewhere not many tourists ventured to, the stares from the people on the bus telling me that, not all of them very friendly. It was coming up on the end of Ramadan, and I was lucky to get on a bus at all, as everyone was traveling to visit family for the 3 day celebration of Eid, or the Sugar Festival as it is referred to in Turkey. So off I went, the only westerner on the bus.
As we approached the Black Sea Coast, it went from dry and hot to overcast and rainy. Vegetation covered the hills and sides of the road, something I hadn‘t seen for a while. We turned on to the coastal road, and we followed the Karadeniz for another couple hours until Trabzon, it raining the whole time. But the nice scenery changed again into urban Turkey as we approached Trabzon, a sizable city.
I had told myself to spend at least a week in Trabzon, to let the music of the region find me, hopefully finding some live music and stores. But as luck would have it, most everything was closed for the first three days I was there, in observance of the holidays. I did run into a music shop that had great kemence and tulum cd’s that I bought and listened to in my room. I familiarized myself more with the odd timings and infectious sounds of the black sea towns. I went to check if any of the live music venues were open, but they weren’t. I did manage to find two shops that were selling kemence karadeniz. One of the shops was selling them from a range of qualities- from cheaply made- to intermediate, playable ones- to professional grade, decorated ones. But again, the prices were steep. And I knew by now that with the kemence at least, it was more about the player than having a superbly crafted fiddle. They looked nice, with fake diamonds inlaid, etc., but that was unnecessary. The kemence karadeniz is, compared to the other Turkish instruments, a basic and rudimentary instrument, but the sounds that come out electrify the dancers and the people of the region.
So my mindset at this point in the trip was to play and look at as many of the instruments as possible, so I could judge what to buy later online. It seemed the most realistic way of buying the instruments, considering if I bought them now, I would be lugging them around Turkey, or paying the high price of shipping them home. And to boot, with the nice people back in Canakkale, I was shown the Turkish version of Ebay, and there were loads of high quality instruments for sale for much less than I was finding in these stores. In addition, as much as I asked, I couldn’t get a clear idea from where these instruments were made. I can of course understand a shop owner being hesitant about telling where he buys his product, when someone could just go buy from that source, so I didn’t prod excessively. But the answers I got were still very vague, only pointing towards the source being from the locality or nearby.
As it turned out, I had some memorable experiences in Trabzon, including an interesting experience with a Turkish communist and the police. I continued to explore the culinary delights of Turkey, now enjoying the different cuisine of the Karadeniz. Highlights were the great, cafeteria style restaurants that served excellent local food, finding a dish of the heart stopping, buttery corn meal dish- kuymuk- that I was looking for, and hanging out in the tea gardens, writing in my journal.
And when in Trabzon, especially at night, the café and restaurants would play the horon music with the kemence taking center stage. This wasn’t just folk music to be relegated to the past. It still very much invigorated the ears of the people here, it was the local music. The 5/4, 7/4 and 9/4 rhythms pumped out into the night, and put me into a kind of trance as I explored the city. Nowhere that I have been in the world yet has put so much emphasis on odd timings as they did there. It was actually unusual to hear a song in 4/4 here, and it lent to the uniqueness of the place, which I’m sure would have revealed more musical treasures had I stuck around more. But I wanted to see Rize, a smaller town down the coast where the music was just as important to daily life. And where the tulum, a Turkish version of the bagpipe, joined the kemence in the enchanting rhythms of the Karadeniz.
If you’re interested in hearing the sounds I speak of, see the videos I’ve posted previously in “Rhythms of the Black Sea Coast”.
So back on a bus, and off to one of the places that I was really looking forward to musically. Another long 11 hour bus ride, and at this point I was getting good at just resigning myself to long hours of complete boredom and uncomfortability. The one redeeming factor on these bus rides was the hand cologne that the attendant would spray on your hands periodically, or after a rest stop. A great smell and truly refreshing after long, stale hours just sitting there. This particular bus ride was different from the start-it was obvious I was going somewhere not many tourists ventured to, the stares from the people on the bus telling me that, not all of them very friendly. It was coming up on the end of Ramadan, and I was lucky to get on a bus at all, as everyone was traveling to visit family for the 3 day celebration of Eid, or the Sugar Festival as it is referred to in Turkey. So off I went, the only westerner on the bus.
As we approached the Black Sea Coast, it went from dry and hot to overcast and rainy. Vegetation covered the hills and sides of the road, something I hadn‘t seen for a while. We turned on to the coastal road, and we followed the Karadeniz for another couple hours until Trabzon, it raining the whole time. But the nice scenery changed again into urban Turkey as we approached Trabzon, a sizable city.
I had told myself to spend at least a week in Trabzon, to let the music of the region find me, hopefully finding some live music and stores. But as luck would have it, most everything was closed for the first three days I was there, in observance of the holidays. I did run into a music shop that had great kemence and tulum cd’s that I bought and listened to in my room. I familiarized myself more with the odd timings and infectious sounds of the black sea towns. I went to check if any of the live music venues were open, but they weren’t. I did manage to find two shops that were selling kemence karadeniz. One of the shops was selling them from a range of qualities- from cheaply made- to intermediate, playable ones- to professional grade, decorated ones. But again, the prices were steep. And I knew by now that with the kemence at least, it was more about the player than having a superbly crafted fiddle. They looked nice, with fake diamonds inlaid, etc., but that was unnecessary. The kemence karadeniz is, compared to the other Turkish instruments, a basic and rudimentary instrument, but the sounds that come out electrify the dancers and the people of the region.
So my mindset at this point in the trip was to play and look at as many of the instruments as possible, so I could judge what to buy later online. It seemed the most realistic way of buying the instruments, considering if I bought them now, I would be lugging them around Turkey, or paying the high price of shipping them home. And to boot, with the nice people back in Canakkale, I was shown the Turkish version of Ebay, and there were loads of high quality instruments for sale for much less than I was finding in these stores. In addition, as much as I asked, I couldn’t get a clear idea from where these instruments were made. I can of course understand a shop owner being hesitant about telling where he buys his product, when someone could just go buy from that source, so I didn’t prod excessively. But the answers I got were still very vague, only pointing towards the source being from the locality or nearby.
As it turned out, I had some memorable experiences in Trabzon, including an interesting experience with a Turkish communist and the police. I continued to explore the culinary delights of Turkey, now enjoying the different cuisine of the Karadeniz. Highlights were the great, cafeteria style restaurants that served excellent local food, finding a dish of the heart stopping, buttery corn meal dish- kuymuk- that I was looking for, and hanging out in the tea gardens, writing in my journal.
And when in Trabzon, especially at night, the café and restaurants would play the horon music with the kemence taking center stage. This wasn’t just folk music to be relegated to the past. It still very much invigorated the ears of the people here, it was the local music. The 5/4, 7/4 and 9/4 rhythms pumped out into the night, and put me into a kind of trance as I explored the city. Nowhere that I have been in the world yet has put so much emphasis on odd timings as they did there. It was actually unusual to hear a song in 4/4 here, and it lent to the uniqueness of the place, which I’m sure would have revealed more musical treasures had I stuck around more. But I wanted to see Rize, a smaller town down the coast where the music was just as important to daily life. And where the tulum, a Turkish version of the bagpipe, joined the kemence in the enchanting rhythms of the Karadeniz.
If you’re interested in hearing the sounds I speak of, see the videos I’ve posted previously in “Rhythms of the Black Sea Coast”.
Thursday, October 29, 2009
Rewind- Konya
From Izmir, I happily took the slow train, not the bus, for 15 good hours through the dry Turkish countryside. I arrived in Ankara, thinking I’d be able to take another train to Konya- that wasn’t the case. After 2 uneventful- but of course food filled- days and nights in Ankara, I hopped a coach at the ultra modern bus station en route to Konya, just 6 hours or so.
Immediately upon arriving in Konya, I liked the feel. I think because it was night, it was calm, and the brightly lit tomb of Mevlana, or Rumi, was shining in the night as I traversed through the town and made my way through a peaceful graveyard. Konya is a conservative town, and I saw some interesting sights outside of the camii adjacent to the Rumi tomb. One evening during service, the crowd was so big that they filed in rows outside of the mosque. There was at least a thousand people on the grounds of the mosque, all facing towards the entrance as the Imam proceeded through the service. A powerful and sublime sight. At other times the camii was a nexus of activity, usually in the dusk hours and after evening prayers. As it was leading up to the Eid holiday when I was there, people were apt to be concentrating on the religious proceedings there.
I didn’t find the musical depth I had expected in Konya. It seems the music of the Sufi is still a source of pride, but it wasn’t widespread as I thought it’d be. I found a CD shop, but was hard pressed to find any instrument shops, even after many questions and trips out. One time I did stumble upon a small shop with a man making neys, the all important and expressive musical voice of Sufi music. A really lucky find, and I watched him whittle away and fit pieces on the flutes for a few minutes. I should have shot a video of him, but oh well, it didn‘t occur to me in that moment. As I was leaving, I asked him where I could find a kabak kemane, kemence, or rabab. He shrugged his shoulders.
But the next day, I ran into the right person- after finishing my breakfast lentil soup at a small restaurant, I asked the owner where I might find a particular address I had been told about. It was, however, another customer that dropped what he was doing to walk me to that store. It was over a mile away, and we passed his camera store on the way, where he was to be at work that day. When we arrived, he explained to the man working there my intention to find a kabak kemane. I thanked him profusely- it was an extremely generous act.
At that shop I met Mustafa, the worker there. He showed me the kabak kemanes that they had, but they weren’t made well and didn’t work properly, the strings not having enough action to produce notes. So we looked at baglamas, which they had dozens of, and he explained the differences in the types of wood, emphasizing-as had a man in a shop in Istanbul- the importance of dut wood in the body of the instrument for a better sound. Dut, I found out, is apparently a very dense hardwood found in the region. I played a little, and so did another helper in the store. It was interesting that he picked a song in 5/4 to play right off the bat. It reinforced to me the command that many Turkish people have of different rhythms, ones often foreign or hard to grasp to western ears.
After we had finished looking at instruments, Mustafa asked where I was going after Konya. I told him Cappadocia, then the black sea coast, and parts of eastern Turkey, where I didn’t know exactly yet. He took the next hour to tell me of different towns I should go to, and he looked every one up on the computer to show me pictures of the towns and the highlights that I should go for. It was fun hanging out there, as well as being educational, and it was all made possible by the nice man who didn’t ignore my helplessness and took an extraordinary amount of time to show me to that store.
So the next day I was ready to leave, but I left Konya with good experiences in mind.
Immediately upon arriving in Konya, I liked the feel. I think because it was night, it was calm, and the brightly lit tomb of Mevlana, or Rumi, was shining in the night as I traversed through the town and made my way through a peaceful graveyard. Konya is a conservative town, and I saw some interesting sights outside of the camii adjacent to the Rumi tomb. One evening during service, the crowd was so big that they filed in rows outside of the mosque. There was at least a thousand people on the grounds of the mosque, all facing towards the entrance as the Imam proceeded through the service. A powerful and sublime sight. At other times the camii was a nexus of activity, usually in the dusk hours and after evening prayers. As it was leading up to the Eid holiday when I was there, people were apt to be concentrating on the religious proceedings there.
I didn’t find the musical depth I had expected in Konya. It seems the music of the Sufi is still a source of pride, but it wasn’t widespread as I thought it’d be. I found a CD shop, but was hard pressed to find any instrument shops, even after many questions and trips out. One time I did stumble upon a small shop with a man making neys, the all important and expressive musical voice of Sufi music. A really lucky find, and I watched him whittle away and fit pieces on the flutes for a few minutes. I should have shot a video of him, but oh well, it didn‘t occur to me in that moment. As I was leaving, I asked him where I could find a kabak kemane, kemence, or rabab. He shrugged his shoulders.
But the next day, I ran into the right person- after finishing my breakfast lentil soup at a small restaurant, I asked the owner where I might find a particular address I had been told about. It was, however, another customer that dropped what he was doing to walk me to that store. It was over a mile away, and we passed his camera store on the way, where he was to be at work that day. When we arrived, he explained to the man working there my intention to find a kabak kemane. I thanked him profusely- it was an extremely generous act.
At that shop I met Mustafa, the worker there. He showed me the kabak kemanes that they had, but they weren’t made well and didn’t work properly, the strings not having enough action to produce notes. So we looked at baglamas, which they had dozens of, and he explained the differences in the types of wood, emphasizing-as had a man in a shop in Istanbul- the importance of dut wood in the body of the instrument for a better sound. Dut, I found out, is apparently a very dense hardwood found in the region. I played a little, and so did another helper in the store. It was interesting that he picked a song in 5/4 to play right off the bat. It reinforced to me the command that many Turkish people have of different rhythms, ones often foreign or hard to grasp to western ears.
After we had finished looking at instruments, Mustafa asked where I was going after Konya. I told him Cappadocia, then the black sea coast, and parts of eastern Turkey, where I didn’t know exactly yet. He took the next hour to tell me of different towns I should go to, and he looked every one up on the computer to show me pictures of the towns and the highlights that I should go for. It was fun hanging out there, as well as being educational, and it was all made possible by the nice man who didn’t ignore my helplessness and took an extraordinary amount of time to show me to that store.
So the next day I was ready to leave, but I left Konya with good experiences in mind.
Wednesday, October 28, 2009
Rewind- Izmir
From Canakkale to Bergama. The ruins of Pergama were amazing. I went early in the morning and imagined what it would have looked like in Roman times. Of course I’m glad I went, but not much in the way of music while I was there. After two days, I made my way to Izmir, the third largest city in Turkey.
In Izmir I met Tuba and Kursat Terci. Tuba was the cousin of Cem Egesel, who I had stayed with in Canakkale. If it wasn’t enough to be introduced to all those kind people at his school and then meeting Filiz Bodur, he made sure I went to visit Tuba, his cousin. Her husband Kursat was a classical guitar teacher at the conservatory of music at the private college there, and Cem figured he’d be a great resource to learn more about the traditional music forms of Turkey.
I met Tuba, Kursat and two of their friends the first night for a fantastic dinner of mezes- my first time- I had been told of this dish, or dishes, a Turkish specialty. The plan was to go see an open air jazz performance by a band from Istanbul afterwards. On the drive over, one of their friends asked me if I had read the author Tom Robbins as it was one of her favorite authors. It was a surprising question, being so far away from home, but also because he’s one of my favorite authors and I wondered how his quirky and creative use of the English language would translate into Turkish. Damn, gotta love things like that.
The space for the concert was an old factory converted into public grounds. It was nice. The band mainly performed jazz standards, and the lady sang the familiar songs with a heavy Turkish accent. The people were diggin’ the western sound and the band played well, but lacking the latent force and backbeat that makes a good American jazz band so rewarding to listen to.
During the concert, Kursat relayed to me the complex history of the Turkish Republic in relation to the music of the country and incidentally at his school (see previous blog entry). It was incredibly enlightening both towards the history of the region, but of the role music has played in the psyche of the people in this land.
The next day I went to meet Tuba and Kursat at their school. They both were professors there. Kursat a music teacher as I mentioned, and Tuba an English literature teacher. Tuba and I had a great talk over coffee and lunch while we waited to meet up with Kursat. She told me of her amazing journey towards teaching, which included her quitting school before high school. The way she was being taught didn’t jive with her way of learning, and she was aware enough to do something about it then. Years after, after finding out what her true passion was, initially being spurred by interest in Native American studies (the way she was led to this is another fascinating topic on it’s own, but personal to her I think), she quickly finished her high school degree, going on to college then finishing her graduate school work in her mid 30’s. She is now a professor at a major college. It was inspiring not for the length of education or the type. It was inspiring because of how she did it. She only went through with intensive class based learning when it was something she felt was important. Before that she read voraciously and was led to a lifelong passion. I related not only to her disenchantment with general classroom learning in the teenage years, but also found inspiration from her in finding her passion and following it no matter what the age. We tend to think life comes in chunks and phases, and that those phases correlate to certain ages. While sometimes true, it’s great when the rules are broken, showing that this life still contains many surprises and we can learn things at unexpected times.
The intention that day was to go to the traditional music section of their school and meet with one of the instrument makers there, possibly talking to professors as well. But it was bad timing as it was a friday, and everyone had went home early. I wouldn’t be around on Monday when they resumed studies. Damn, but it was a rewarding trip nonetheless. Although I didn’t get to see any traditional music in Izmir, I learned many things from the great discussions I had.
In Izmir I met Tuba and Kursat Terci. Tuba was the cousin of Cem Egesel, who I had stayed with in Canakkale. If it wasn’t enough to be introduced to all those kind people at his school and then meeting Filiz Bodur, he made sure I went to visit Tuba, his cousin. Her husband Kursat was a classical guitar teacher at the conservatory of music at the private college there, and Cem figured he’d be a great resource to learn more about the traditional music forms of Turkey.
I met Tuba, Kursat and two of their friends the first night for a fantastic dinner of mezes- my first time- I had been told of this dish, or dishes, a Turkish specialty. The plan was to go see an open air jazz performance by a band from Istanbul afterwards. On the drive over, one of their friends asked me if I had read the author Tom Robbins as it was one of her favorite authors. It was a surprising question, being so far away from home, but also because he’s one of my favorite authors and I wondered how his quirky and creative use of the English language would translate into Turkish. Damn, gotta love things like that.
The space for the concert was an old factory converted into public grounds. It was nice. The band mainly performed jazz standards, and the lady sang the familiar songs with a heavy Turkish accent. The people were diggin’ the western sound and the band played well, but lacking the latent force and backbeat that makes a good American jazz band so rewarding to listen to.
During the concert, Kursat relayed to me the complex history of the Turkish Republic in relation to the music of the country and incidentally at his school (see previous blog entry). It was incredibly enlightening both towards the history of the region, but of the role music has played in the psyche of the people in this land.
The next day I went to meet Tuba and Kursat at their school. They both were professors there. Kursat a music teacher as I mentioned, and Tuba an English literature teacher. Tuba and I had a great talk over coffee and lunch while we waited to meet up with Kursat. She told me of her amazing journey towards teaching, which included her quitting school before high school. The way she was being taught didn’t jive with her way of learning, and she was aware enough to do something about it then. Years after, after finding out what her true passion was, initially being spurred by interest in Native American studies (the way she was led to this is another fascinating topic on it’s own, but personal to her I think), she quickly finished her high school degree, going on to college then finishing her graduate school work in her mid 30’s. She is now a professor at a major college. It was inspiring not for the length of education or the type. It was inspiring because of how she did it. She only went through with intensive class based learning when it was something she felt was important. Before that she read voraciously and was led to a lifelong passion. I related not only to her disenchantment with general classroom learning in the teenage years, but also found inspiration from her in finding her passion and following it no matter what the age. We tend to think life comes in chunks and phases, and that those phases correlate to certain ages. While sometimes true, it’s great when the rules are broken, showing that this life still contains many surprises and we can learn things at unexpected times.
The intention that day was to go to the traditional music section of their school and meet with one of the instrument makers there, possibly talking to professors as well. But it was bad timing as it was a friday, and everyone had went home early. I wouldn’t be around on Monday when they resumed studies. Damn, but it was a rewarding trip nonetheless. Although I didn’t get to see any traditional music in Izmir, I learned many things from the great discussions I had.
Past and Present
In Izmir, I had met Toba and Kursat Terci. Toba was the cousin of Cem, whose house I stayed at in Canakkale, with his wife Basak and son Dogu. That night, Toba, Kursat, me and two of their friends were all sitting on the grass of a factory turned public space. The old windows of the brick buildings were lit up in a soft red, and it gave the sprawling place an eerie congruity. It reinforced that it was out of use, but now used for something entirely different. A good use I think-cafes and an outdoor stage, where acts played in open air concerts.
The band playing that night was a jazz quartet. They were playing standards and the woman singing was belting them out in a loud, smoky, Turkish accented English. The band was alright, but they were missing the backbeat, the subtle force that makes us Americans unique in the music world.
I was to there to meet Kursat, who was a classical guitar teacher at the university, and it would be a possible chance to track down some Turkish instruments. The plan for the next day was that we head to the university and go to the traditional Turkish and folk music section of the conservatory. There we could watch luthiers making hand made traditional instruments, and meet some of the teachers and students of these musical forms. Kursat, however, let me know that his school, the western classical section, was kept ideologically separated from the traditional school. He said professors and students of these schools rarely interacted and shared their music. And he explained how it actually was related to the political history of the young Turkish republic:
Bear in mind I don’t have a perfect memory-far from it- and that this is nowhere near an exhaustive history; But he explained it something like this:
The long and incredibly varied history of these lands is reflected in the dozens of folk forms found in Turkey. Influences come from all around this region, incorporated over the last few thousand years. About 700 years ago, the Ottoman empire tightened it’s grip on the surrounding area, and maintained that grip for 600 years. The breadth of the empire, consisting of present day Greek, Persian, Middle East, Arabian, and North African lands, influenced the Ottoman culture, and you see that reflected even today in the food, music and traditions of the Turkish people.
Over time, and especially during the very complicated political events of the late 19th century, into the 20th and in large part because of the first world war, the Ottoman empire dwindled, and was and sectioned off by European powers (pick up a history book for this part). The dramatic beginnings of the Turkish republic involved Ataturk and his army essentially saving Istanbul and Thrace- the remaining parts of the once huge Ottoman empire- from attacking Greek and European powers, along with the remnants of the defeated Ottoman rulers. These dramatic years alone are a source of great pride for many Turks, not to mention what he did afterwards, and what lead Turks to claim Ataturk as the father of their nation.
He then, in the 1920‘s, instituted major reforms, such as outlawing Arabic and creating a roman based Turkish alphabet. Also making the new government secular, breaking with the religious rulers of the past, outlawing the traditional Islamic dress of men and women, and giving women the right to vote before European nations did the same. It didn’t stop there. It was a sudden and forceful shift, and essentially a shift towards the west.
And, as Kursat explained, the political necessities of the new republic- when Ataturk founded a new state going away from the traditions of the past- made it necessary for Turkey to look away from it’s traditions and folk forms a little. In the supposed interest of a successful nation, Ataturk banned many traditional Turkish cultural expressions. Kursat further explained that folk music, and the music of the Ottoman empire, was not as valued as before, and sometimes associated with the “sick man of Europe”, as the Ottoman Empire grew to be known in the late 19th century. So entered western classical music, among other forms of western music. The changes instituted in the 20’s made it possible for these forms to thrive here, while certain folk forms languished.
But now, he said, this was changing, and as an example, he used the folk section of the conservatory. This was a relatively new idea in a major university, and there was now a struggle to reconcile the paths of these two very different musical forms in the school. Now, he said, Turkish people were reaching back to their roots, and becoming more interested in the folk music. He thought this was necessary- to reconcile these two histories, these two ideas. So as good as this was, the intentions and ideologies of the two sections of his school were still at odds. He said that most people in the two respective schools didn’t interact with the other, and the sharing of knowledge between the schools was limited.
He related this to present day Turkey, where people are proudly reaching back to their roots, while at the same time reaching towards the west, EU accession being the prime issue.
The way I made sense of it, it seemed that now that the Turkish people have a functioning, stable and in many ways self sufficient country has allowed them to look back and be proud of who they are, but they still have to contend with an ever changing world. One in which the ideas and money of the west are always beckoning from next door.
The band playing that night was a jazz quartet. They were playing standards and the woman singing was belting them out in a loud, smoky, Turkish accented English. The band was alright, but they were missing the backbeat, the subtle force that makes us Americans unique in the music world.
I was to there to meet Kursat, who was a classical guitar teacher at the university, and it would be a possible chance to track down some Turkish instruments. The plan for the next day was that we head to the university and go to the traditional Turkish and folk music section of the conservatory. There we could watch luthiers making hand made traditional instruments, and meet some of the teachers and students of these musical forms. Kursat, however, let me know that his school, the western classical section, was kept ideologically separated from the traditional school. He said professors and students of these schools rarely interacted and shared their music. And he explained how it actually was related to the political history of the young Turkish republic:
Bear in mind I don’t have a perfect memory-far from it- and that this is nowhere near an exhaustive history; But he explained it something like this:
The long and incredibly varied history of these lands is reflected in the dozens of folk forms found in Turkey. Influences come from all around this region, incorporated over the last few thousand years. About 700 years ago, the Ottoman empire tightened it’s grip on the surrounding area, and maintained that grip for 600 years. The breadth of the empire, consisting of present day Greek, Persian, Middle East, Arabian, and North African lands, influenced the Ottoman culture, and you see that reflected even today in the food, music and traditions of the Turkish people.
Over time, and especially during the very complicated political events of the late 19th century, into the 20th and in large part because of the first world war, the Ottoman empire dwindled, and was and sectioned off by European powers (pick up a history book for this part). The dramatic beginnings of the Turkish republic involved Ataturk and his army essentially saving Istanbul and Thrace- the remaining parts of the once huge Ottoman empire- from attacking Greek and European powers, along with the remnants of the defeated Ottoman rulers. These dramatic years alone are a source of great pride for many Turks, not to mention what he did afterwards, and what lead Turks to claim Ataturk as the father of their nation.
He then, in the 1920‘s, instituted major reforms, such as outlawing Arabic and creating a roman based Turkish alphabet. Also making the new government secular, breaking with the religious rulers of the past, outlawing the traditional Islamic dress of men and women, and giving women the right to vote before European nations did the same. It didn’t stop there. It was a sudden and forceful shift, and essentially a shift towards the west.
And, as Kursat explained, the political necessities of the new republic- when Ataturk founded a new state going away from the traditions of the past- made it necessary for Turkey to look away from it’s traditions and folk forms a little. In the supposed interest of a successful nation, Ataturk banned many traditional Turkish cultural expressions. Kursat further explained that folk music, and the music of the Ottoman empire, was not as valued as before, and sometimes associated with the “sick man of Europe”, as the Ottoman Empire grew to be known in the late 19th century. So entered western classical music, among other forms of western music. The changes instituted in the 20’s made it possible for these forms to thrive here, while certain folk forms languished.
But now, he said, this was changing, and as an example, he used the folk section of the conservatory. This was a relatively new idea in a major university, and there was now a struggle to reconcile the paths of these two very different musical forms in the school. Now, he said, Turkish people were reaching back to their roots, and becoming more interested in the folk music. He thought this was necessary- to reconcile these two histories, these two ideas. So as good as this was, the intentions and ideologies of the two sections of his school were still at odds. He said that most people in the two respective schools didn’t interact with the other, and the sharing of knowledge between the schools was limited.
He related this to present day Turkey, where people are proudly reaching back to their roots, while at the same time reaching towards the west, EU accession being the prime issue.
The way I made sense of it, it seemed that now that the Turkish people have a functioning, stable and in many ways self sufficient country has allowed them to look back and be proud of who they are, but they still have to contend with an ever changing world. One in which the ideas and money of the west are always beckoning from next door.
Friday, October 23, 2009
Rewind- Canakkale
While staying with the Egesels in Canakkale, I was extremely well taken care of. Their company and the food served was excellent. And after learning that the purpose of my trip was musical, they showed me everything they could about Turkish music.
This started with watching the excellent traditional music programs on the different channels of Turkish national TV. There were at least 3 channels dedicated to documentary type musical shows each night.
The next day, Cem took me to the university where he is a professor of agriculture, specializing in genetics. Not only was it interesting to talk with him, but he introduced me to multiple people there tied to the music department. Every one of them went out of their way to give me names of musicians, or help me find them and their performances on youtube (which wasn't blocked on the university server). One gentleman, who was a violinist and collector of traditional instruments, was currently learning how to play the classical kemence. He called his teacher and asked her if we could meet up later that night. She said yes, and we agreed to meet that night at 9 at her husband's shop.
Undoubtedly, this was one of the musical highlights of my trip. I feel very lucky to have had the chance to meet and listen to Filiz Bodur play the classical kemence. I posted one video of her on a previous post, but here are a couple more:
This started with watching the excellent traditional music programs on the different channels of Turkish national TV. There were at least 3 channels dedicated to documentary type musical shows each night.
The next day, Cem took me to the university where he is a professor of agriculture, specializing in genetics. Not only was it interesting to talk with him, but he introduced me to multiple people there tied to the music department. Every one of them went out of their way to give me names of musicians, or help me find them and their performances on youtube (which wasn't blocked on the university server). One gentleman, who was a violinist and collector of traditional instruments, was currently learning how to play the classical kemence. He called his teacher and asked her if we could meet up later that night. She said yes, and we agreed to meet that night at 9 at her husband's shop.
Undoubtedly, this was one of the musical highlights of my trip. I feel very lucky to have had the chance to meet and listen to Filiz Bodur play the classical kemence. I posted one video of her on a previous post, but here are a couple more:
Filiz Bodur- Kemencevi from Jason Williams on Vimeo.
Filiz- Tango from Jason Williams on Vimeo.
The other people in these videos are Basak Egesel and their child Dogu, and the nice guy who introduced me to Filiz. I'm sorry, but I forgot his name.
The morning that I left Canakkale, Basak wanted us to stop by her work. She worked at the directorate of agriculture for Canakkale county. It was very interesting to talk to her about the similarities and differences of agriculture processes to ours at home- including the budding organic movement in Turkey that was being spearheaded on two islands off the coast near Canakkale. Her idea was to have me play some music from the states for the people she worked with. As it was pretty early in the morning, I wasn't enthusiastic about this surprise concert at first. But seeing as I was treated to such hospitality, and fortunate enough to see such good music while I was there, I swallowed my reservations. And it turned out to be a great experience. I played some folk and bluegrass music, a couple originals of mine, and two Turkish songs- all I knew then. Her fellow workers seemed to like it, and it created a connection that language couldn't. We said goodbye with smiles and warm feelings shared. And like that, Cem, Basak and Dogu saw me off on a bus towards Pergamon and Izmir.
Wednesday, October 21, 2009
Rewind- Istanbul
The music going through my head, the sounds that I’ve heard in the last two months. So varied, so diverse, it’s tempting to try to tie them all together, to learn some collective lesson from them all- to claim that they all have a common strain. To a certain extent they do I think, but the beauty is that each type of music I heard represented a unique influence of culture and tradition. Now I’m in the Dominican Republic (of all places after the middle east) visiting a friend, where I’m looking forward to hearing salsa, bachata, merengue and other Caribbean rhythms. However this is mostly a chance to stop, relax and meditate on what I’ve experienced. So…
The trip started in Istanbul, where initially I was in awe of the ubiquitous muezzin call. The strong but sonorous a-capella song would echo throughout the city, repeated by the next mosque nearby. It seemed to dominate life and set a schedule for the day. Of course, that’s the purpose, to remind people of the need to pray; but I think because it was all new to me, I was in awe of the exotic nature of it. Here is the muezzin call during the busy Iftar festival outside the Blue Mosque:
Even though I had told myself to take a day or two to adjust, the second day there I went in search of the instrument shops near the Galata tower that I had researched and read about before. It was an amazing, winding street, going down the hill from the Galata tower, lined with 30 to 40 different music shops. There were baglamas, kabak kemanes, Turkish rababs, classical kemences, kemence karadeniz, ouds, kanuns, violins, tamburs, neys, darbukas, cumbus, and other instruments as well. I was like a kid in a candy shop, and I tried to soak up everything I could from the shop owners about the price and quality of these instruments. The highlight was the kabak kemane made at the Conservatory of Music at the University of Istanbul. It was very nice, but he wanted 650 Lira for it. Even if I talked him down, it was too expensive for me, and it would be hard to sell for a profit back home.
The first live music I heard was on the way back that day, the group busking off of Istiklal Caddesi:
The next day I saw what I think was gypsy music being played as an advertisement outside of a restaurant:
And the music at the Iftar festival outside of the Blue Mosque
And when Yesim took me to the mall, there was a trio playing old Ottoman classical music, with tambur, classical kemence and the singer playing the tef.
On a walk back home to my hotel one night, I saw a little shop, owned by a man, Oktay Bulgu, who was making traditional Turkish instruments as well as artwork he displayed on the walls. He was a very interesting guy, and he told me a little about the difference between the forms of Turkish, Arabic and western music. He talked about maqams, the uniqueness of the Turkish scale and song structures found in the music. It was great to meet him, and see the work he was doing. He had a nice Turkish rebab that he had made, but he was definitely after the tourist dollar, charging way too much for the instruments and the lessons he offered. I decided not to buy an instrument from him or take a lesson, and hold out hope that I could find something similar but cheaper down the road. Whether that was the best move, I'll never know- maybe I'll have to go back! But as I was leaving, he told me to look him up on youtube- I didn't have a chance to do that until now. This is a clip of him at his shop on national Turkish TV-which has outstanding musical programs by the way.
Over the next couple days, after asking around some more, I found out that there might be another spate of music shops in Istanbul. I set out twice looking for this area, and found it the second time. There were about 5 different shops here, a couple of the bigger ones selling western instruments, and if there were any traditional instruments, they were cheaply made. But I found two smaller shops that were selling traditional instruments, and had the chance to talk with the owner of one. He basically had all the instruments I was looking for, but only one very high quality one- he showed me a very nice kabak kemane, letting me play it and get a feel for this instrument. Whether handmade or not, I look back now and realize how lucky I was to be able to aquaint myself with all these instruments over the first week being there. I probably should have bought one or two instruments from there as well, but I had a mind to find handmade instruments from the people actually making them- no music shops or middlemen. Perhaps naively, I expected these people to be outside the big city; but I had expected cheaper prices as well, so I waited. It also occurred to me at this point that it would be possible to contact all these people via email and have instruments shipped back home if I wanted to. So I collected all their contact info if in the future I go this route.
The trip started in Istanbul, where initially I was in awe of the ubiquitous muezzin call. The strong but sonorous a-capella song would echo throughout the city, repeated by the next mosque nearby. It seemed to dominate life and set a schedule for the day. Of course, that’s the purpose, to remind people of the need to pray; but I think because it was all new to me, I was in awe of the exotic nature of it. Here is the muezzin call during the busy Iftar festival outside the Blue Mosque:
Iftar Festival, Muezzin Call-Blue Mosque from Jason Williams on Vimeo.
Even though I had told myself to take a day or two to adjust, the second day there I went in search of the instrument shops near the Galata tower that I had researched and read about before. It was an amazing, winding street, going down the hill from the Galata tower, lined with 30 to 40 different music shops. There were baglamas, kabak kemanes, Turkish rababs, classical kemences, kemence karadeniz, ouds, kanuns, violins, tamburs, neys, darbukas, cumbus, and other instruments as well. I was like a kid in a candy shop, and I tried to soak up everything I could from the shop owners about the price and quality of these instruments. The highlight was the kabak kemane made at the Conservatory of Music at the University of Istanbul. It was very nice, but he wanted 650 Lira for it. Even if I talked him down, it was too expensive for me, and it would be hard to sell for a profit back home.
The first live music I heard was on the way back that day, the group busking off of Istiklal Caddesi:
Zaragune from Jason Williams on Vimeo.
The next day I saw what I think was gypsy music being played as an advertisement outside of a restaurant:
A Very Good Advertisement-Istanbul from Jason Williams on Vimeo.
And the music at the Iftar festival outside of the Blue Mosque
And when Yesim took me to the mall, there was a trio playing old Ottoman classical music, with tambur, classical kemence and the singer playing the tef.
On a walk back home to my hotel one night, I saw a little shop, owned by a man, Oktay Bulgu, who was making traditional Turkish instruments as well as artwork he displayed on the walls. He was a very interesting guy, and he told me a little about the difference between the forms of Turkish, Arabic and western music. He talked about maqams, the uniqueness of the Turkish scale and song structures found in the music. It was great to meet him, and see the work he was doing. He had a nice Turkish rebab that he had made, but he was definitely after the tourist dollar, charging way too much for the instruments and the lessons he offered. I decided not to buy an instrument from him or take a lesson, and hold out hope that I could find something similar but cheaper down the road. Whether that was the best move, I'll never know- maybe I'll have to go back! But as I was leaving, he told me to look him up on youtube- I didn't have a chance to do that until now. This is a clip of him at his shop on national Turkish TV-which has outstanding musical programs by the way.
Over the next couple days, after asking around some more, I found out that there might be another spate of music shops in Istanbul. I set out twice looking for this area, and found it the second time. There were about 5 different shops here, a couple of the bigger ones selling western instruments, and if there were any traditional instruments, they were cheaply made. But I found two smaller shops that were selling traditional instruments, and had the chance to talk with the owner of one. He basically had all the instruments I was looking for, but only one very high quality one- he showed me a very nice kabak kemane, letting me play it and get a feel for this instrument. Whether handmade or not, I look back now and realize how lucky I was to be able to aquaint myself with all these instruments over the first week being there. I probably should have bought one or two instruments from there as well, but I had a mind to find handmade instruments from the people actually making them- no music shops or middlemen. Perhaps naively, I expected these people to be outside the big city; but I had expected cheaper prices as well, so I waited. It also occurred to me at this point that it would be possible to contact all these people via email and have instruments shipped back home if I wanted to. So I collected all their contact info if in the future I go this route.
Tuesday, October 20, 2009
Tel Aviv
I heard a few musicians play here, including an accordionist playing klezmer. It was great but I didn't have the camera. This clip is good though because it also shows a slice of Tel Aviv city life- the people as they busily pass by, the cars rushing behind me, the graffiti on the wall- juxtaposed with Violin Man's slow, melodic song.
Violin Man- Tel Aviv, Israel from Jason Williams on Vimeo.
And while sipping coffee at a cafe in nearby Jaffa, I noticed the music. It had a Turkish and central Asian sound. I asked the owner and he told me their name- Diwan Saz. They're an Israeli band recreating traditional Turkish, Azeri, and Persian songs. They're using instruments that I was looking for like the kabak kemane and bowed tambur, among others. It was interesting to me because like me, they're not native to those countries, but have an appreciation for the music. And it seemed appropriate I would hear that right before I left the middle east. Almost a bookend to the trip in a musical sense. Here's a video they made:
Tuesday, October 13, 2009
Journey
This trip was based around the idea of music. Of finding specific instruments and also documenting the different musical expressions of the cultures I ran into. To that end I have found so much, and have been infinitely fascinated by the new sounds. So you’d think they would completely occupy my mind.
It’s funny the actual music going through my head. For instance:
The night before going through the Petra ruins, I was joking with fellow travelers that we’d be humming the Indiana Jones theme while running through the ruins. But something went horribly wrong, and the theme from Dallas got stuck in my head. As hard as I tried to remember the Indi Jones song, fuckin' Dallas would spring up again as I bounded across rocks and ruins. Good lord!
And now, in Jerusalem, I’m rockin’ to the sounds of some metal that a friend sent over email, and while walking down the street, singing “Lights” by Journey. I think it’s the two month homesickness that I heard about. But it struck me how perfect that song was for my situation, so here it is, in all it’s poetic supremacy, by a group of traveling balladiersmen from the same town as I:
When the lights go down in the city,
and the sun shines on the bay,
ooh i want to be there, in my city,
oh-oh oh-oh-oh
So you think your lonely
well my friend I'm lonely too
I want to get back, to my city by the bay,
Whoa-ooh-oh, oh-oh-oh
Its sad ohh,
there’s been mornings out on the road without you,
without your charms
oh-oh-oh-oh nah-nah-nah-nah-nah-nah,
oh-oh, oh-oh-oh
When the lights go down in the city
and the sun shines on the bay
ooh i want to be there, in my city, oh-ooh-oh-oh
Whoa-ooh-oh, oh-oh-oh
Pretty sure I got all the ohhs and ohs, it's very important with Journey, that's their specialty.
It’s not surprising I’d miss home. It’s hot as hell here (appropriate in the holy land) and there are only rocks. I think about the refreshing breeze of home, the wonderful escape of the green hills across the bay, the endless waters of the Pacific, and the people and places that make it home. While the wind chilled me to the bone before and that damned city was so frustrating, I’m missing it a little. But I left for a reason, and I’m finding even more reasons now, so I’m gonna give it some more time. In the meantime, thank God- or Allah or Yahweh, or whatever the hell they’re calling him or her or it in the next town- thank you for music. I don’t need a religion, I just need a good song, like this one. And... maybe a little time in the Dominican Republic, yeah, maybe that.
This video was filmed in my other hometown. Watch Neil rock out with the Jewish fro!
It’s funny the actual music going through my head. For instance:
The night before going through the Petra ruins, I was joking with fellow travelers that we’d be humming the Indiana Jones theme while running through the ruins. But something went horribly wrong, and the theme from Dallas got stuck in my head. As hard as I tried to remember the Indi Jones song, fuckin' Dallas would spring up again as I bounded across rocks and ruins. Good lord!
And now, in Jerusalem, I’m rockin’ to the sounds of some metal that a friend sent over email, and while walking down the street, singing “Lights” by Journey. I think it’s the two month homesickness that I heard about. But it struck me how perfect that song was for my situation, so here it is, in all it’s poetic supremacy, by a group of traveling balladiersmen from the same town as I:
When the lights go down in the city,
and the sun shines on the bay,
ooh i want to be there, in my city,
oh-oh oh-oh-oh
So you think your lonely
well my friend I'm lonely too
I want to get back, to my city by the bay,
Whoa-ooh-oh, oh-oh-oh
Its sad ohh,
there’s been mornings out on the road without you,
without your charms
oh-oh-oh-oh nah-nah-nah-nah-nah-nah,
oh-oh, oh-oh-oh
When the lights go down in the city
and the sun shines on the bay
ooh i want to be there, in my city, oh-ooh-oh-oh
Whoa-ooh-oh, oh-oh-oh
Pretty sure I got all the ohhs and ohs, it's very important with Journey, that's their specialty.
It’s not surprising I’d miss home. It’s hot as hell here (appropriate in the holy land) and there are only rocks. I think about the refreshing breeze of home, the wonderful escape of the green hills across the bay, the endless waters of the Pacific, and the people and places that make it home. While the wind chilled me to the bone before and that damned city was so frustrating, I’m missing it a little. But I left for a reason, and I’m finding even more reasons now, so I’m gonna give it some more time. In the meantime, thank God- or Allah or Yahweh, or whatever the hell they’re calling him or her or it in the next town- thank you for music. I don’t need a religion, I just need a good song, like this one. And... maybe a little time in the Dominican Republic, yeah, maybe that.
This video was filmed in my other hometown. Watch Neil rock out with the Jewish fro!
Jerusalem's Music
There's a decent bit of music on the streets of Jerusalem. Saw this mandolin man at the beginning of Ben Yehuda St., which is lined with shoppers and buskers. Some groups of youngsters with guitars play and sing just for fun. Kinda nice. The Arab music plays in the shops lining the Muslim souq in the old city, and one of my favorite experiences was of an a-capella Islamic song played on someone's cell phone on the way to Bethlehem in a sherut. There's no denying the western vibe of some of the Jewish parts of town- it's not unusual to hear a very American brand of English being spoken. Not surprising, but to hear this song was. It's a band playing what sounds like the old American folk song Big Rock Candy Mountain. Interesting because the song was about a hobo's hopeful but sarcastic version of paradise- might be a good analogy to this place.
Hard Rock Candy Mountain- Jerusalem from Jason Williams on Vimeo.
Saturday, October 10, 2009
Bedouin Music at Petra
A very serene experience. Two musicians played the rebab and flute in the towering ruins of the Treasury. Beautiful.
Rebab at Petra from Jason Williams on Vimeo.
Monday, October 5, 2009
Yacine in Damascus
I met this very nice man in Damascus. His name is Yacine, and he's Kurdish. Originally from around Diyarbakir, Turkey, he lived in Lebanon for a while, and now in Damascus. He stopped me in the Damascus old city, and invited me to hear him play music at his apartment. It was a great experience, more so because he also had a Rebab at his place, one of the instruments I am looking for. He played this, the baglama, and the flute, showing me Syrian, Lebanese, and Kurdish songs. I was able to play the rebab as well and then picked up the drum to accompany him on baglama.
Then after he helped me find a place for my laundry, we picked up some fuul, prepared the herbs (mint, watercress) at his place, ate and played more music. An amazing experience and an extremely welcoming man. He wanted nothing more than to meet and learn what he could from a foreigner, while showing me some of his culture.
Friday, October 2, 2009
Kemal Kabbani Concert
I was walking down the street in Aleppo, and almost passed up a music store. Something made me double back, and I'm glad I did. The nice old man in the store played CDs of the unique music of Aleppo for me and sold me a few albums. Then I asked if there was any live music in the next couple days. He went to check a concert poster he had in the store. Excitedly, he said there was a concert tonight! And by a student of the most famous Aleppo singer and musician, Sabah Fakhri. "Enjoy- I was very lucky", he said, and also- it was free. So I went to the concert, it was amazing of course, and an insight into some parts of Syrian culture. This is a little bit of what I saw:
Kemal Kabbani Orchestra in Aleppo, Syria from Jason Williams on Vimeo.
Kemal Kabbani Orchestra-Aleppo, Syria from Jason Williams on Vimeo.
Mardin Music
I walked past this music shop in Mardin where these two guys were playing Kurdish music. Lucky timing.
Mardin Music from Jason Williams on Vimeo.
Friday, September 25, 2009
The Dengbeas House
The Kurdish men at this teahouse talk and sing. It seemed they were talking as they sang and singing as they talked.
At the Dengbeas House from Jason Williams on Vimeo.
Aww Dengbeas! from Jason Williams on Vimeo.
The Rhythms of the Black Sea
The frenetic and spirited songs of the people on the eastern Black Sea coast. Kemence, Tulum, Horon. Enjoy the rhythms!
The story is what makes this. I was on my way out of Rize, walking down the street, with backpack and violin, ready to catch the bus in a couple hours. I walked past a place that said, "Turkish Kefti"- it was a live music bar. The guy outside, Caglar, saw me and said,"You play?" I was invited inside and in only an hour, we played music, they gave me dinner, a beautiful lady sang Turkish songs to me, and we recorded a couple videos for remembrance sake. Quite an experience, and an hour later I was on a bus, headed out of Rize.
Monday, September 21, 2009
Turkish Musical Instruments
There are dozens of different instruments in Turkey. This is owing to it's wealth of music, made possible by the influence of the many different cultures that have once been here, been in the Ottoman empire, or are here now. This list is only a start, there are more.
The Saz, seen all around the mediterranean, is called the baglama saz in Turkey. It uses the special Turkish scale- akin to the Arabic scale, but not exactly the same. This is probably the most popular instrument in Turkey. Like the guitar in the U.S.. Here's a sample:
http://www.dailymotion.com/video/x5bk09_ahmet-koc-haber-7-baglama-show-supe_music
The Cura, the balagma saz's little cousin. Check this video out:
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=1978849
Yes, you see the bagpipe in Turkey. In the northeast in a place called Rize on the Black Sea coast. Introduced by cultures emigrating from Russia, Georgia, and throughout the Caucasus mountains into Turkey. Check it out:
http://www.metacafe.com/watch/1017406/amazing_instrument_tulum/
The accordion was also introduced by cultures from the Caucasus mountains into northeastern Turkey. See it here: http://www.metacafe.com/watch/2857194/akordeon_show/
The Zurna- It has a very nasally, loud sound. And the Davul drum, which is heard during Ramazan to wake people up for the morning prayer, and to remind them to eat before daylight.
Right here: http://www.vidivodo.com/90510/davul-zurna-keyfi
The Kaval. Known as the shepherd's flute. You'll see different sizes. Here's a couple:
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=60022774
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=50214509
The tef, a kind of tambourine. Right here:
http://www.dailymotion.com/video/xafar1_riqzilli-tef-improvisation-soft-pos_music
The Tanbur, an instrument used in classical Turkish music. It has a mellower tone and lower range than the balagma, but same tuning. Check it: http://www.metacafe.com/watch/yt-4S4LyJ9msB0/m_zigin_renkleri_tanbur_02_b_lb_l_ussak/
The Yayli Tanbur. The Tanbur's bowed cousin. Beautiful, cello like tone.
See a sample of the playing here:
The Kabak Kemane. An ancestor of the modern violin, that traces it's origin to the spike fiddles of central asia. Brought with the nomadic Turkish people on their migrations westward. Here:
http://tr.sevenload.com/videolar/EFO0T2p-Muzigin-Renkleri-Kirmizi-Bugday-Kabak-Kemane
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=44219144
The Kemence Karadeniz. The fiddle of the Black Sea region and the Laz people of that area. Here a couple examples:
http://www.metacafe.com/watch/2902907/an_l_y_lmaz_kemence/
http://www.karadenizvideo.net/mirzalu-ali-kemence-video.html
The Turkish Rebab. The Ottoman answer to the rebab fiddles of the Arabic people, some of whom were under their rule. It is bowed and played like a spike fiddle, rested on the leg. See an example here:
And this is an older type found at the Mevlani museum in Konya.
The Classical Kemence. The lyrical, violin sounding instrument used in classical Turkish music. It is played by stopping the strings with the nail instead of the tips of the finger. For a sample, go to:
http://theworldofthedervishes.files.wordpress.com/2009/05/03-ussak6.mp3
Or scroll to my previous post of Feliz Bodur playing it live.
The Violin. Mostly used in the soulful music of the gypsies of Turkey, but also incorporated into traditional Turkish music. See my post on Istanbul music-"good advertisement".
The Kanun. A zither type instrument, plucked with plectrum on the fingers. Also used frequently in the music of the gypsies in Turkey. See the post on Istanbul music again.
The Ud. Famous all around the middle eastern region, it is also used frequently in Turkish music.
The Ney. If there was one instrument to rival the baglama for popularity, it would be the ney. The voice-like tone of the ney is synonymous with the Sufi music of Turkey.
The Cumbus. Resembling the American banjo but with no frets. In fact, both the cumbus and banjo can trace their history back to northwestern and western Africa.
The Darbuka. The most frequently used drum in group playing in Turkey, and seen all throughout the middle east. The sound is distinctive, and you're able to get a deep tone from the middle, and tight high sound from the edge.
The Saz, seen all around the mediterranean, is called the baglama saz in Turkey. It uses the special Turkish scale- akin to the Arabic scale, but not exactly the same. This is probably the most popular instrument in Turkey. Like the guitar in the U.S.. Here's a sample:
http://www.dailymotion.com/video/x5bk09_ahmet-koc-haber-7-baglama-show-supe_music
The Cura, the balagma saz's little cousin. Check this video out:
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=1978849
Yes, you see the bagpipe in Turkey. In the northeast in a place called Rize on the Black Sea coast. Introduced by cultures emigrating from Russia, Georgia, and throughout the Caucasus mountains into Turkey. Check it out:
http://www.metacafe.com/watch/1017406/amazing_instrument_tulum/
The accordion was also introduced by cultures from the Caucasus mountains into northeastern Turkey. See it here: http://www.metacafe.com/watch/2857194/akordeon_show/
The Zurna- It has a very nasally, loud sound. And the Davul drum, which is heard during Ramazan to wake people up for the morning prayer, and to remind them to eat before daylight.
Right here: http://www.vidivodo.com/90510/davul-zurna-keyfi
The Kaval. Known as the shepherd's flute. You'll see different sizes. Here's a couple:
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=60022774
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=50214509
The tef, a kind of tambourine. Right here:
http://www.dailymotion.com/video/xafar1_riqzilli-tef-improvisation-soft-pos_music
The Tanbur, an instrument used in classical Turkish music. It has a mellower tone and lower range than the balagma, but same tuning. Check it: http://www.metacafe.com/watch/yt-4S4LyJ9msB0/m_zigin_renkleri_tanbur_02_b_lb_l_ussak/
The Yayli Tanbur. The Tanbur's bowed cousin. Beautiful, cello like tone.
See a sample of the playing here:
The Kabak Kemane. An ancestor of the modern violin, that traces it's origin to the spike fiddles of central asia. Brought with the nomadic Turkish people on their migrations westward. Here:
http://tr.sevenload.com/videolar/EFO0T2p-Muzigin-Renkleri-Kirmizi-Bugday-Kabak-Kemane
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=44219144
The Kemence Karadeniz. The fiddle of the Black Sea region and the Laz people of that area. Here a couple examples:
http://www.metacafe.com/watch/2902907/an_l_y_lmaz_kemence/
http://www.karadenizvideo.net/mirzalu-ali-kemence-video.html
The Turkish Rebab. The Ottoman answer to the rebab fiddles of the Arabic people, some of whom were under their rule. It is bowed and played like a spike fiddle, rested on the leg. See an example here:
And this is an older type found at the Mevlani museum in Konya.
The Classical Kemence. The lyrical, violin sounding instrument used in classical Turkish music. It is played by stopping the strings with the nail instead of the tips of the finger. For a sample, go to:
http://theworldofthedervishes.files.wordpress.com/2009/05/03-ussak6.mp3
Or scroll to my previous post of Feliz Bodur playing it live.
The Violin. Mostly used in the soulful music of the gypsies of Turkey, but also incorporated into traditional Turkish music. See my post on Istanbul music-"good advertisement".
The Kanun. A zither type instrument, plucked with plectrum on the fingers. Also used frequently in the music of the gypsies in Turkey. See the post on Istanbul music again.
The Ud. Famous all around the middle eastern region, it is also used frequently in Turkish music.
The Ney. If there was one instrument to rival the baglama for popularity, it would be the ney. The voice-like tone of the ney is synonymous with the Sufi music of Turkey.
The Cumbus. Resembling the American banjo but with no frets. In fact, both the cumbus and banjo can trace their history back to northwestern and western Africa.
The Darbuka. The most frequently used drum in group playing in Turkey, and seen all throughout the middle east. The sound is distinctive, and you're able to get a deep tone from the middle, and tight high sound from the edge.
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