This year's newsletter necessarily starts with very sad news, news that shocked all of us at the BIAA: in February 2022, we lost Gina Coulthard, the BIAA's long-serving editor of annual publications. While many will remember Gina in this role, her relationship with the BIAA goes back much further. When I took up the position of BIAA director in 2006, it was Gina who 'showed me the ropes' as manager of the London Office. She was already producing the BIAA publications on top of her fulltime job in the office, because the publications were always what she liked best. She loved reading about new discoveries, theories and results of fieldwork. At heart, she always remained an archaeologist, dedicated to Türkiye.As manager of the BIAA London office, managing was exactly what Gina did -not only the office, but also the council and the committees, all in the gentlest but firmest of ways. I remember looking forward to our regular Friday afternoon calls, when we caught up on the BIAA, gossip and life in general. In between meetings in London, we had many good times when Tamar Hodos, then BIAA Honorary Secretary, Gina and I went back to her office in the basement of the British Academy to prepare for the next session or to work on BIAA-related matters. One of Gina's colleagues asked her afterwards, 'Why aren't my lot more like yours? You seem to be having fun and you work so well together. Mine never laugh!'After Gina moved to Australia, our exchanges were less frequent. But whenever we did talk, it was as if no time had lapsed. Gina somehow always made my day better and brighter. She had that effect on everyone around her, a gift that precious few people possess. We all miss her.I would like to follow this deeply sad news with a professional success story. Işılay Gürsu became the BIAA's Assistant Director for Cultural Heritage Management in April 2022. Işılay has worked at the BIAA since January 2013 and has been instrumental in the Institute's heritage management-related projects. The outcome of one of these projects, the Pisidia Heritage Trail guidebook, has just been published and is now available as hardcover and e-book via the BIAA website, in both English and Turkish. If you like hiking, I highly recommend checking it out! Işılay was also successful in her application for a British Academy Mid-Career fellowship, a very prestigious and highly competitive award and a great achievement. She will take up the year-long fellowship in January 2023.In other good news, Daniel-Joseph MacArthur-Seal, Assistant Director for Ottoman and Contemporary Turkey, extended his contract with the BIAA for another year, until September 2023. In 2022, he organised and co-hosted two international conferences. One of them, focusing on Occupied Istanbul, was originally scheduled for 2020 but postponed because of the pandemic. It eventually took place as a hybrid event and was a big success. In addition to his own work, Daniel also continues as the BIAA representative on the Istanbul Feriköy Project, which involves several international instit...
In this paper, the current practices and discourses surrounding the Alevi semah are analysed in a peculiar reflexive and embodied manner. The semah is comprehended here as a “dynamic structured body system,” which is differently recognized as ibadet (devotional practice), dans (dance), or meditasyon (meditation), and whose practice is alleged to support ideals of inter-religious peace and gender equity. Its analysis resorts to data collected during an intensive fieldwork that was carried out between 2008 and 2011 by following the experimental theater piece with the title Samah—Kardeşlik Töreni (Samah—the Ritual of Brotherhood) of the Ankara Deneme Sahnesi amateur group based in Ankara (Turkey). This play is the result of a re-elaboration of ethnographic data that were collected throughout the Anatolian peninsula since the early 1980s by a team of students and researchers affiliated with the Theatre Department of Ankara University. In this process of re-adaptation for the stage, the semah was singled out of its religious source (the Ayin-i Cem ritual) for which it started to display a mirror image offering a condensed exposition of the Alevi rituals to an audience. This paper contextualizes these formal adaptations on the stage into the frame of the abrupt history of migration and urbanization in late twentieth century Turkey. Such historical processes played a major role in the current circulation of the semah in Turkey as well as abroad, resulting also in its perspective inscription as world intangible heritage.
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