25.08.2013
Je viens de Lalange mon ange
Je viens de Lalange mon ange
Le pays de plus beaux réveillés
J'étais aux commis de tes mélanges
Je viens de Khandahar mon ange
Dans une nuit d'Afghan
J'étais subitement soulevé de tes franges
Je viens de Khasmer mon ange
Tout habillé de blanches de Népal,
Purifié de plus beaux sangs...
Ou j'étais à Lahor ou j'étais à Belh
Du jour au lendemain,
Emporté de tes vents mon ange
Je viens de lointaines contrées
Où tous les signes étaient effacés
Loin de tes yeux d'ange...
A Kabil, je t'ai croisé trois fois
Dans la journée, tu m'a fait signe d'ange
Et je n'ai pas dormis trois jours de suite
J'étais à mendier, avec les Bachi-bozouks
Sur les cheavaux, dans les jeux interdits
J'étais assis hébété dans les bachas-bazi
Mon ange, entouré de fumés, des esprits
J'étais avec mon nargilé, toujours à tes geuts
Alors que tous le monde chantaient
Sournoisement dancaient, mon ange
Que j'ai entendu sur toi de médires
Et pour te sauver que je me suis mis aux armes
Et pour te protéger que je me suis endormis
Dans tes franges, mon ange
24.08.2013
Cahiers IV
-“L’art ne périt plus avec son inventeur”, proclamait J.-J.Rousseau pour pointer le moment crucial et de son oeuvre et de l’histoire de l’oeuvrement en général. Mais quel était ce moment crucial qui fait qu’il y ait un avant et un après: un moment qui ne se quitte plus avec un “plus”. Un moment qui ne fait qu’un avec son inventeur. Un “plus value”? Un “plus que parfait” de perfectionnement qui pointe de doigt le périssement de son auteur…
-Quel rapport y a-t-il donc entre le mouvement d’intériorisation (Errinnerung, souvenir, mémoire vivante, active, séléctive, etc.) et la mémoire confié au tiers (symbolisation, ou pré-symbolisation au sens de sum-bolein)? Confiée au Zeug (dans lequel on ne sait point si elle est gardée –comme une femme- , effacée ou surmontée)…
-Et que veut dire “manger” le symbole? L’incorporer; l’introjecter?
L’activer ou le tuer?
L’appel (premier appel) comme le Rappel…
-Et si la faculté de penser (reflexion) trahissait dans chacune de ses fléxions (ce sont aussi sa manière ou son mouvement de “esquiver”) le sentiment de compassion (pitié, chère à Rousseau) dont elle est l’issue.
-A la reflexion, une pensée qui ne se commémore plus, à quoi ressemblerait, à notre courte vue?
-Hafîz (Omer Hayam dans sa Shiraz), disait “Aşk bir insanı kendi isteğiyle köleleştirmektir” ou bien simplement “aşkla köleleştirmek”… Esclavager avec amour, slavery with love… Biz modernler için her bir kelimesi sorunlu ve her bir kelimesini öldürüp, içini boşalttığımız ya da saptırdığımız için, bu ağır tarihin yükü altında anlaşılması imkansız hale gelen ifadeler bunlar. Kölelikten de kurtulduk, aşktan da… İkisinin de tarihleri varsa eğer, yazılamaz veya okunaksız hale geldi. Korkutucu iki kelime…
-Aşk, philia mı eros mu, hristiyan ‘aşk’ı mı? Tartışma bitmez. Ama yadsınamaz gerçek şudur ki, “aşk” bize şimdi inanılması güç gelen bir emekle Pavlus ve Mevlana tarafından ilmek ilmek örülmüş, önce bir idea, sonra bir kavramlar örgüsü ve bir hayat pratiği, pragma idi. Biz “inanılması güç gelen”den kurtulurken bu “pragma”dan da kurtulduk.
-Ancak şöyle bir “pratik” (pragma) devam edegeldi: “köleleştirmek”… Aşksız köleliğin korkunç yüzü –ve- tutkunun köleleştirici gücü olmayan boş bir kelime olarak “aşık olmak”.
-Bir şeyler öldükten sonra bir pratiğin devam edegelmesi, olabilecek en kötü haber…
-Size “iyi haber”le geliyorum, dostlarım. Bonne Nouvelle. Kurtarıcı Nouvelle Ere, new age, etc.
-Alın ve sembolü, ölmüş ne varsa onun adına, yiyin…
-Zeug/e de sembolleşen bütün kölelik takımlarınızı da beraberinde götürün ki aşk gene mucidiyle (maşuk’unda) ölsün.
-O halde aşk, maşukunu icad ederdi, diyelim. (Bir zamanlar)
Her idenin noema’sını icad edişidir bu.
-Her düşünce kendi düşünce çekirdeğini bulmak, icat etmek ve ona dönmek için düşünür.
O halde aşk düşünmektir, ve düşüncesinin kölesi olmaktır (düşüncesi üzerine düşünmektir, yani noema’sı, maşuku veya Zeug’ü.
-zeugen: aşk şahit olmaktır, aşk şehadettir ve kimse aşkın şehadetine şahitlik edemez. Maşuk’tan başka…
-Demek ki aşk kendi şehadeti üzerine düşünmektir.
-(“Un hégélianisme sans résèrve” de l’amour: forcement liberation, forcement auto-esclavage de l’auto-hétéronomie…)
21.08.2013
Cahiers -III
16.08.2013
Cahiers II
Kalâm:
Il faut passer la réligion (et la foi) par l’instance de la lettre, je dirais par l’épreuve de la lettre –l’instance supérieure-
L’instance (d’ailleurs) irréductible de la lettre, mais souvent oubliée, barrée, effacée (erasure a toujours quelque chose à voir avec l’erreur: erreur capital de toute pêché capitale…)
Donc, “au nom de calame qui s’écrit” (yazan kaleme and olsun ki…): [Kalem / kelâm]
Et cela, sans calamité!...
[Ohé! Embrassés par les embrasements!...]
Et qui a peur de l’écriture?
Guerre à la guerre!
He WAR (d’où –où- tout a commencé)
*
Machine à Prier:
Entre la foi et le savoir, “il y a” le technè (ou l’artefact, la machine) de prière: L’instance ou le dispositif reflexif s’agençant sur un Tier.
Prendre témoin quelqu’un: Personne n’est témoigne du témoin…
[“Nul ne témoigne pour le témoin” –Paul Celan]
-L’homme devant la machine (d’une espèce supérieur): l’internet.
Oedipe devant le Sphynx!
*
-La différence entre noema et noesis, renvoi-elle à la différence entre le Koran et Levh-i Mahfuz?
-Kadir Gecesi: Laylat al-kadar. La Nuit de l’Envoi (Mars 610, 26-27 Ramadan)
-Changement de direction de la prière (Salât): De Jérusalem à Mecque (Avril 624, Hicr 2)
-Haram (Mescid-ul Haram): Sacré, Sacer.
*
Nahl (Sourat 16): Abeille:
“Quand nous changeons un Signe par un Signe, Allah sait ce qu’il fait descendre, mais ils disent ‘le voici, tu inventes!’ (16: 101), “Il l’a appris d’un être charnel” (16: 103)
*
Aufhebung ou Ré-écriture?
Retour de l’identique? Ou mouvement de rassemblement dans la différenciation?
Kadının sünneti yok (oldu)
Kadının sünneti erkek (oldu)
*
Le premier homosapiens date de 150 000 ans.
*
“İbrahim Toplumu” (Ece Ayhan): Abrahamisch Gemeinschaft!
Ve onun ‘faiz-riba’ dışı (yastık altı) döviz stoğu!...
*
Kureyş dili (dini):
Arap yarımadasında dağınık yaşayan kabilelerin, -artık- Piramit veya Babil kulesi inşaatında değil, ama 3. Kitap’la birleştirilmesi. Aufhebung ou Ré-écriture?
Il faut passer la réligion (et la foi) par l’instance de la lettre, je dirais par l’épreuve de la lettre –l’instance supérieure-
L’instance (d’ailleurs) irréductible de la lettre, mais souvent oubliée, barrée, effacée (erasure a toujours quelque chose à voir avec l’erreur: erreur capital de toute pêché capitale…)
Donc, “au nom de calame qui s’écrit” (yazan kaleme and olsun ki…): [Kalem / kelâm]
Et cela, sans calamité!...
[Ohé! Embrassés par les embrasements!...]
Et qui a peur de l’écriture?
Guerre à la guerre!
He WAR (d’où –où- tout a commencé)
*
Machine à Prier:
Entre la foi et le savoir, “il y a” le technè (ou l’artefact, la machine) de prière: L’instance ou le dispositif reflexif s’agençant sur un Tier.
Prendre témoin quelqu’un: Personne n’est témoigne du témoin…
[“Nul ne témoigne pour le témoin” –Paul Celan]
-L’homme devant la machine (d’une espèce supérieur): l’internet.
Oedipe devant le Sphynx!
*
-La différence entre noema et noesis, renvoi-elle à la différence entre le Koran et Levh-i Mahfuz?
-Kadir Gecesi: Laylat al-kadar. La Nuit de l’Envoi (Mars 610, 26-27 Ramadan)
-Changement de direction de la prière (Salât): De Jérusalem à Mecque (Avril 624, Hicr 2)
-Haram (Mescid-ul Haram): Sacré, Sacer.
*
Nahl (Sourat 16): Abeille:
“Quand nous changeons un Signe par un Signe, Allah sait ce qu’il fait descendre, mais ils disent ‘le voici, tu inventes!’ (16: 101), “Il l’a appris d’un être charnel” (16: 103)
*
Aufhebung ou Ré-écriture?
Retour de l’identique? Ou mouvement de rassemblement dans la différenciation?
Kadının sünneti yok (oldu)
Kadının sünneti erkek (oldu)
*
Le premier homosapiens date de 150 000 ans.
*
“İbrahim Toplumu” (Ece Ayhan): Abrahamisch Gemeinschaft!
Ve onun ‘faiz-riba’ dışı (yastık altı) döviz stoğu!...
*
Kureyş dili (dini):
Arap yarımadasında dağınık yaşayan kabilelerin, -artık- Piramit veya Babil kulesi inşaatında değil, ama 3. Kitap’la birleştirilmesi. Aufhebung ou Ré-écriture?
15.08.2013
Dolanma Türküsü (Bursa Şiiri)
Dolanma Türküsü
İstanbul'un her yeri deniz,
Ama deniz hiçbir yerde
Görünmez surlarla çevrili
Bir Bizans'a hapsolmuş gibi
Sarayın avlusunda dolanan bir halk,
Lakin ara sıra kayalıklarda ihlâl!
Bursa uyur bir kolu ovada bir kolu dağda,
Yaprakları yeşerir, terler uykusunda
Çatlak dudaklar, unutulmuş odalar
Uyuyan çocuklar, tıkırtılar…
Bayram olsa, bulutlar dağılsa
Çocuklar coşsa yemişler açsa…
Deniz yürüse, Bursa’ya varsa
İstanbul uyansa kendi efkarında…
Bursa’da odalar damlar
Odalarda uyur çocuklar
Hanlar içinde hamamlar
Hani neden şu gâmlar tasalar…
Uykum yok ne İstanbul’da ne Bursa’da
Yar yok diyar yok ne gam ne tasa
Bu kurna mermer karnı ince oya
Kah damda kah nigâr kapıda…
Gel diyar gel diyar anlat bana
Dün Manisa’da bugün Uşak’ta
Kütahya’da duman altında
Aydın’a varmam diyor…
Dün Bursa’da bugün Uşak’ta
Manisa’da Zonguldak’ta
Hani Bolu dağlarında
Yeşilinde Bilecik’te...
İstanbul'un her yeri deniz,
Ama deniz hiçbir yerde
Görünmez surlarla çevrili
Bir Bizans'a hapsolmuş gibi
Sarayın avlusunda dolanan bir halk
Lakin ara sıra kayalıklarda ihlâl!
Dolanma, dolanma,
Gel kapıma
Burası Konya burası Yozgat
Burası Çorum burası Sivas…
Dolanma, dolanma
Burası Mardin burası Antep
Gel kapıma
Burası Kars burası Digor
Gel kapıma…
Dolanma…
* Bursa'da Ramazan Bayramı vesilesiyle
Cahiers (2003-2005)
Lui=Loi
Absolue équation et sa dissolution… Mais lui fait encore loi; c’est qu’il fasse loi qu’il est Lui. Sans lui, avec lui…
Pro-voquer, c’est (déjà) in-voquer, con-voquer…
“La science sans conscience (savoir sans savoir) n’est que la ruine de l’âme” (que reste-il? –après…)
[Mon idée de laicité, c’est d’essayer de penser et d’agir non sans dieu, mais “with-out” dieu; non sans l’ignorer simplement –par ailleurs on n’en produirait aucune connaissance tangible sauf peut-être un ‘gnosis’ intangible, elliptique- mais sans faire l’intervenir dans une immédiatité ou dans une présence illusoire. La laicité requiert une conception ex-statique de la catégorie de la présence. Inter-venir…]
“Il faut faire avec…”
Agir et faire avec, bien que ‘être avec’, ‘agir avec’ et ‘faire avec’, ce ne sont pas du même ordre, et pourtant inséparables… Pour faire avec, il faut être encore avec, non pas sans agir avec, mais agir autrement.
Etre ensemble, agir ensemble (non pas toujours dans le même sens –directions disjonctives-).
Soit on est trop satisfait (on se plaît trop dans la complaissance) soit on se complaît trop dans la peine (autant dans nos peines que dans celles des autres, celles des lointaines, celles de Lui). Si la peine est trop présente, trop intime, trop aigue, on n’a même pas un instant pour soupirer, pour s’inspirer –près de s’expirer-
Priez alors là, si l’on vit encore dans l’ombre de la mort... On ne peine que pour cela qui ne vaux pas de peine.
Absolue équation et sa dissolution… Mais lui fait encore loi; c’est qu’il fasse loi qu’il est Lui. Sans lui, avec lui…
Pro-voquer, c’est (déjà) in-voquer, con-voquer…
“La science sans conscience (savoir sans savoir) n’est que la ruine de l’âme” (que reste-il? –après…)
[Mon idée de laicité, c’est d’essayer de penser et d’agir non sans dieu, mais “with-out” dieu; non sans l’ignorer simplement –par ailleurs on n’en produirait aucune connaissance tangible sauf peut-être un ‘gnosis’ intangible, elliptique- mais sans faire l’intervenir dans une immédiatité ou dans une présence illusoire. La laicité requiert une conception ex-statique de la catégorie de la présence. Inter-venir…]
“Il faut faire avec…”
Agir et faire avec, bien que ‘être avec’, ‘agir avec’ et ‘faire avec’, ce ne sont pas du même ordre, et pourtant inséparables… Pour faire avec, il faut être encore avec, non pas sans agir avec, mais agir autrement.
Etre ensemble, agir ensemble (non pas toujours dans le même sens –directions disjonctives-).
Soit on est trop satisfait (on se plaît trop dans la complaissance) soit on se complaît trop dans la peine (autant dans nos peines que dans celles des autres, celles des lointaines, celles de Lui). Si la peine est trop présente, trop intime, trop aigue, on n’a même pas un instant pour soupirer, pour s’inspirer –près de s’expirer-
Priez alors là, si l’on vit encore dans l’ombre de la mort... On ne peine que pour cela qui ne vaux pas de peine.
7.08.2013
"Are Turks natural born tweeters?"
5, 2013 10:30 PM
Tweeting Is Big in Turkish Town, but Not the Kind Done on Twitter
Still, Whistlers Fear Their Trilled Language Can't Keep Up With Tuneless Texts
'Bird Language' or Kus Dili, is a centuries-old whistled dialect used to communicate across hillsides in the village of Kuskoy, Turkey. Will it survive the digital age? WSJ's Joe Parkinson reports.
By
• Joe Parkinson
KUSKOY, Turkey—Many people aren't connected to the Internet in this remote hilltop village. But tweeting is a very big deal.
Residents here have for centuries communicated with one another using a series of elaborately trilled whistles known as "bird language."
Living on the fertile slopes above Turkey's Black Sea coast, they have honed an earsplitting warble that can reverberate for nearly a mile.
Kuskoy literally translates as "bird village," and locals say their ancestors first developed the tuneful tradition around 500 years ago. The language is essentially a whistled dialect of Turkish, with each syllable rendered in one of about 20 sounds.
The trilled "speech" springs from a cacophony of complex techniques combining tongue, teeth and fingers and really does resemble bird song.
Neighbors lean over the fence to tweet greetings, instructions for harvesting hazelnuts or to invite one another over for a cup of locally plucked tea.
"Come over here for a cup!" Servet Kugu trills to his neighbor, as he stands in a valley bracketed by sheer hillsides. "Give me 10 minutes. I'll be there," Hakan Eroglu, some 400 yards away, whistles back.
Local officials insist their traditional tweeting can survive in a digital age, and it remains almost heresy to speak ill of whistling here.
But the high-pitched tradition is under threat.
While decades of slow modernization helped preserve the language, many locals have in recent years swapped whistling for cellphones.
A rising tide of the village's youngsters are drawn from Kuskoy's tuneful hills to the bright lights of Turkey's booming cities.
"We love this tradition, but these days, the children never let go of their phones," said Ramazan Calik, a 35-year-old tea farmer who moved from Kuskoy to the nearby city of Rize with his five children, none of whom can whistle bird language proficiently. "I want my children to learn, but it's hard when they don't have the same use for it as we did years ago."
The man spearheading efforts to repopularize Kuskoy's high-pitched tradition is Şeref Kocek, head of Kuskoy's Bird Language Association and organizer of the village's annual bird-whistling festival.
The sharp-suited Mr. Kocek, a Kuskoy native and self-proclaimed "amateur" whistler, says he wants to showcase the village as a "world whistling capital" to boost tourism and funnel more money into the region. Since he took the helm of the whistling association five years ago, he has expanded the annual festival; Starting in September, two of the village's top whistlers will be paid a state salary to teach what will become the world's first publicly funded whistling classes in Kuskoy, Mr. Kocek said.
"Our purpose is to promote bird language in our country and across the world," Mr. Kocek said on the sidelines of this year's festival in July as he rushed to coordinate local officials, musicians and whistlers. "We know that the world is talking about the new kind of tweeting, but we want to show the world our more traditional tweeting, too."
Mr. Kocek says he been successful in doubling the number of festival visitors to 5,000, but his whistling evangelism faces serious headwinds.
At this year's bird-language festival, attendees who jammed into Kuskoy appeared far less interested in whistling than dancing to local folk music or shopping at pop-up stalls selling goods that included kebab skewers and power tools.
The annual whistling championship, where competitors relay instructions across a valley before a panel of judges, featured only eight competitors and lasted around 15 minutes. It was watched attentively by a group of Turkish journalists but largely ignored by festival visitors.
This year's champion, Esma Kodalak, has won the title for two of the past four tournaments and confesses that even her son, Emre, hasn't learned to whistle because he prefers to use a cellphone.
"Technology can be a killer of the arts and this case is no different," said Mahmut Salcan, an official from Turkey's Culture Ministry, who attended the festival with a troupe of folk dancers from Azerbaijan. Old-school tweeting, he said, "is unlikely to survive for too long."
Kuskoy isn't the only place where whistled languages have thrived then declined: There are a handful of other villages in similarly remote regions of Mexico, Greece and Spain where treacherous ground and sparse population made travel difficult even over short distances. Warbling has waned in those areas, too.
But Kuskoy believes it boasts the largest concentration of whistlers on the planet and is best placed to guard the tradition against the encroachment of modern technology.
"Whistling is in people's genes here; the best whistlers are artists and everyone knows them. Technology won't wipe that away," said Riza Kuyu, a 56-year-old hazelnut farmer who describes his own whistling as "decent, but way below competition standard."
Kuskoy's top whistlers may make bird language look easy, but it is a far cry from pursing your lips to accompany your favorite pop song.
Each whistler has his or her own style, but three techniques are particularly popular, explained Ibrahim Kodalak, a veteran whistler chosen to be Turkey's first official whistling teacher when classes begin in the fall.
The first, popular with purists, sees the whistler invert, then contort, the tongue against the back of the teeth. Another sees two pinkies pressed against the tongue, for extra shrill. Some whistlers place a hooked index finger inside the cheek—a move helpful for those with false teeth.
"Here, whistling is our mother tongue and we won't allow it to die," said Mr. Kodalak.
-Yeliz Candemir and Gokce Sanlialp contributed to this article.
Write to Joe Parkinson at joe.parkinson@wsj.com
http://m.europe.wsj.com/articles/a/SB10001424127887323854904578638330635878760?mg=reno64-wsj
Tweeting Is Big in Turkish Town, but Not the Kind Done on Twitter
Still, Whistlers Fear Their Trilled Language Can't Keep Up With Tuneless Texts
'Bird Language' or Kus Dili, is a centuries-old whistled dialect used to communicate across hillsides in the village of Kuskoy, Turkey. Will it survive the digital age? WSJ's Joe Parkinson reports.
By
• Joe Parkinson
KUSKOY, Turkey—Many people aren't connected to the Internet in this remote hilltop village. But tweeting is a very big deal.
Residents here have for centuries communicated with one another using a series of elaborately trilled whistles known as "bird language."
Living on the fertile slopes above Turkey's Black Sea coast, they have honed an earsplitting warble that can reverberate for nearly a mile.
Kuskoy literally translates as "bird village," and locals say their ancestors first developed the tuneful tradition around 500 years ago. The language is essentially a whistled dialect of Turkish, with each syllable rendered in one of about 20 sounds.
The trilled "speech" springs from a cacophony of complex techniques combining tongue, teeth and fingers and really does resemble bird song.
Neighbors lean over the fence to tweet greetings, instructions for harvesting hazelnuts or to invite one another over for a cup of locally plucked tea.
"Come over here for a cup!" Servet Kugu trills to his neighbor, as he stands in a valley bracketed by sheer hillsides. "Give me 10 minutes. I'll be there," Hakan Eroglu, some 400 yards away, whistles back.
Local officials insist their traditional tweeting can survive in a digital age, and it remains almost heresy to speak ill of whistling here.
But the high-pitched tradition is under threat.
While decades of slow modernization helped preserve the language, many locals have in recent years swapped whistling for cellphones.
A rising tide of the village's youngsters are drawn from Kuskoy's tuneful hills to the bright lights of Turkey's booming cities.
"We love this tradition, but these days, the children never let go of their phones," said Ramazan Calik, a 35-year-old tea farmer who moved from Kuskoy to the nearby city of Rize with his five children, none of whom can whistle bird language proficiently. "I want my children to learn, but it's hard when they don't have the same use for it as we did years ago."
The man spearheading efforts to repopularize Kuskoy's high-pitched tradition is Şeref Kocek, head of Kuskoy's Bird Language Association and organizer of the village's annual bird-whistling festival.
The sharp-suited Mr. Kocek, a Kuskoy native and self-proclaimed "amateur" whistler, says he wants to showcase the village as a "world whistling capital" to boost tourism and funnel more money into the region. Since he took the helm of the whistling association five years ago, he has expanded the annual festival; Starting in September, two of the village's top whistlers will be paid a state salary to teach what will become the world's first publicly funded whistling classes in Kuskoy, Mr. Kocek said.
"Our purpose is to promote bird language in our country and across the world," Mr. Kocek said on the sidelines of this year's festival in July as he rushed to coordinate local officials, musicians and whistlers. "We know that the world is talking about the new kind of tweeting, but we want to show the world our more traditional tweeting, too."
Mr. Kocek says he been successful in doubling the number of festival visitors to 5,000, but his whistling evangelism faces serious headwinds.
At this year's bird-language festival, attendees who jammed into Kuskoy appeared far less interested in whistling than dancing to local folk music or shopping at pop-up stalls selling goods that included kebab skewers and power tools.
The annual whistling championship, where competitors relay instructions across a valley before a panel of judges, featured only eight competitors and lasted around 15 minutes. It was watched attentively by a group of Turkish journalists but largely ignored by festival visitors.
This year's champion, Esma Kodalak, has won the title for two of the past four tournaments and confesses that even her son, Emre, hasn't learned to whistle because he prefers to use a cellphone.
"Technology can be a killer of the arts and this case is no different," said Mahmut Salcan, an official from Turkey's Culture Ministry, who attended the festival with a troupe of folk dancers from Azerbaijan. Old-school tweeting, he said, "is unlikely to survive for too long."
Kuskoy isn't the only place where whistled languages have thrived then declined: There are a handful of other villages in similarly remote regions of Mexico, Greece and Spain where treacherous ground and sparse population made travel difficult even over short distances. Warbling has waned in those areas, too.
But Kuskoy believes it boasts the largest concentration of whistlers on the planet and is best placed to guard the tradition against the encroachment of modern technology.
"Whistling is in people's genes here; the best whistlers are artists and everyone knows them. Technology won't wipe that away," said Riza Kuyu, a 56-year-old hazelnut farmer who describes his own whistling as "decent, but way below competition standard."
Kuskoy's top whistlers may make bird language look easy, but it is a far cry from pursing your lips to accompany your favorite pop song.
Each whistler has his or her own style, but three techniques are particularly popular, explained Ibrahim Kodalak, a veteran whistler chosen to be Turkey's first official whistling teacher when classes begin in the fall.
The first, popular with purists, sees the whistler invert, then contort, the tongue against the back of the teeth. Another sees two pinkies pressed against the tongue, for extra shrill. Some whistlers place a hooked index finger inside the cheek—a move helpful for those with false teeth.
"Here, whistling is our mother tongue and we won't allow it to die," said Mr. Kodalak.
-Yeliz Candemir and Gokce Sanlialp contributed to this article.
Write to Joe Parkinson at joe.parkinson@wsj.com
http://m.europe.wsj.com/articles/a/SB10001424127887323854904578638330635878760?mg=reno64-wsj
3.08.2013
VAKT-İ DİYALEKTİK (Ahmet Haşim'e)
Vakt-i Diyalektik*
Annemle Ramazan geceleri çıkardık bazı;
Boşlukta denizler gibi yokluk ve karanlık…
Şimdi Yoğurtcu Parkı’nda asılmış bir ağacın kollarına
O zulmün son suretleri, uzanır ebediyetlere kollar…
Her zaman geçtiğimiz, bildiğimiz yerdeki yollar,
Birden silindi şimdi, korkulu bir hisle adımlar…
Islıklar, lambalar, çadırlar, davullar…
Tenha gecenin hayaletlerini dinler iken biz.
Yüksekte sema, yerde arz, her şey nazar-ı dikkate şâyan
Yoktu o eski sükûtta ne isyan ne sitayiş, ama ikrâr…
Bir şair vehm olunmuş gibi şimdi geçer gökte bulutlar
Kahrolunarak erimiş tükenmiş gibiyken o eski umutlar…
Hani o meçhul dallarda kımıldayan rüzgâr
Hep sisli temâsiyle sıçrayan kurbağalar
O kamersiz gecede ararken meçhul suretlerimizi
Bilsen o çocuk, o apolitik mahlûkat-ı ziyân
Şimdi bu zulmetleri görse neler hisseder, korku duyardı.
Güya derler ki, vardır bir harf bir harften içeri
Ruhunda eder figan, sesin siyahında fısıldar
Sakin geceler olurken şefkatle encümen
O titrer karanlıkların dibinde tüylü kuyruklar…
Henüz hüsrana ermemişken o matemli bakışlar,
Hani o dalgın geceler sanki ruhu boğardı
Hani her şey bizi korkulu bir rüyayla sarardı,
O zulmet ki müebbet, o zulmet ki mütemâdi gibiydi o vakit.
Şimdi eşkâlini ele verir gibi hepsi ayrı birer şekil, sûret
Ne dallar kuru eller gibi açmış gökyüzüne…
Ne zenneler ne dullar, hepsi açmış elleri duâkar
Nice çılgın dolaşan Kurbağalıdere kenarında Leyla şair
Zulmün seyrinde olma, koş sen de mazlumlara katıl!
En sonda kurtuluşu görmüş gibi titrer o göğüsler,
Tâ ki ufka asılmış sarı bir Levha iner gibi gökten...
Bu kafile nasıl bir kafile ki -bu Gezi Ruhu benden sorma
Coşmuş Dicle’nin suları gibi, çizer nurlu ufuklar
Zulmette kalma, ondan yalnız ruha gelir ziyan
Yalnız değilsin, karanlıklara rağmen bak yine İsyan
Yalnız da olsan... Bu kamersiz gecenin zîfrinde bile,
Bir ışık bir ziya keşfedeceksin bu suyun zemininde
Oradan bir kafile geçecek ki –ruhu yepyeni hayalleri
Anda zulmet dağılacak o gecenin ufkunda sabahlar açacak.
Dinlerdik onun şiirini ben lâl, o gümüşî
Lâkin ne hâlden anlardı ne efkârdan Teori,
Lâkin eskiden ne kadar da dar idi o militan narâlar!
Guyâ o zamanın ruhunu, yansıtırmış ey Zeitgeist’ı…
Eyledik işte semaları glu-glu dansıyla telâfi;
Yıldızları göklerden alıp indirirlerdi onlar şarkılarıyla
Bir bir o donuk gözlerini kaşını gerdanını
Oynatırlardı zulmette koşarken yine Ana Akım rüzgar,
Ruhumda işte o vakit yerleşti benim o eski korku: ölüm
Onların neşeli sularının tersine dönerken Vakt-i Diyalektik...
(*) Ahmet Haşim Gezi’yi yaşasa nasıl yazardı? Şi'ri Kamer’inin (“Sensiz”) bugünün Türkçesine ve durumuna uyarlanmış şekli.
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