ARTISTIC DESIGNS FEEDING THE DREAM UNIVERSE OF CRIMEAN TATAR TURKS: EXAMPLE OF KARAMAN/AYRANCI
Ottoman Sultan II. Abdulhamid and the Russian Tsar II. According to the agreement between Nikolay in 1903, the Crimean Tatars were brought to Istanbul from the Crimea. Then they were placed in Eskişehir, Konya and Iskenderun according to their situation. The Crimean Tatars coming to Konya was sent t...
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| Formato: | article |
| Lenguaje: | DE EN FR TR |
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Fırat University
2019
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| Materias: | |
| Acceso en línea: | https://doaj.org/article/1e378fa0a3c64e8dac16fa1db09cdebc |
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| Sumario: | Ottoman Sultan II. Abdulhamid and the Russian Tsar II. According to the agreement between Nikolay in 1903, the Crimean Tatars were brought to Istanbul from the Crimea. Then they were placed in Eskişehir, Konya and Iskenderun according to their situation. The Crimean Tatars coming to Konya was sent to five settlement areas, including Ayrancı. Upon the positive opinion of the delegation from Ayrancı region, the two hundred households Crimean Tatar was placed in the region where it is today's district center on 13 June 1903. In the Crimean Tatars, which lived in tents and settled in caves under rocks at first, many diseases and deaths of children were observed as there was not enough food and drink. In the following years, they established their own order with the help of both the state and the people of the region. Their commitment to the traditions of the Crimean Tatars and their efforts to continue their lives in the Anatolia are aimed at preserving their own values. But in time, their living there began to melt within the daily life of the region. Despite this, artistic designs such as poetry and story, as well as folk products such as fairy tales, proverbs, jokes and riddles have been preserved in their memories with all their vitality. These artistic designs are intended to escape from everyday life and surface, to produce themselves as an uper value and are signs of resurrection. This artistic life draws the boundaries of the self by turning into a magical power and it also helps to maintain self-worth. They exist by negating the established order with this artistic production and they connect their existence to the places of separation with these imaginary forms of production, they leaven their existence with love. In this study, we will compile these artistic designs which have become an identity vaccine of Crimean-Tatars, settled in Karaman/ayrancı region and we're going to make a collective assessment. |
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