THE HALL MAGAZINE JANUARY 2022 (Oct,Nov,Dec)

JANUARY 2022

IMAGINE ALL THE ALLIES AL LIES

Independent, Universal, Colourful

OCTOBER 2021 -NOVEMBER 2021 - DECEMBER 2021

WWW.THEHALLMEDIA.COM

January 2022, I would like to start with the best wishes and hope that our new year, 2022, will bring goodness, health, prosperity, elevation, development and betterment, success, happiness and blessings in every field of life to all humanity in every corner of the world.

Dr. Osman Komurcu

Editor-In-Chief

A whole year has passed so swiftly as turning the leaf of a calendar. Unfortunately, the 2021 was full of natural disasters, wars, political and economic crisis, pandemics, migrations, losses, poverty…and it left millions of people in unimaginable tragedies, pains, sufferings. The most prominent events of the previous year were the wars caused by political and economic crises, leading to mass migrations of people and consequently causing fleeing countries in horrendous situations, great losses on the way to survival, displacements, horrible stories…

All of them are the result of humankind's endless greediness and lack of understanding, caring and respecting other and sharing with others.

By ignoring and forgetting that we have just limited energy sources, a limited life span and opportunities, it is getting harder and harder to raise generations who will design our future. The most important aspect of forming a virtuous society is to adopt and implement universal human values in the education of each individual beings. We should see our differences in languages, religions and races as richness and embrace our differences as strengthening forces unifying each other rather than dividing factors. We must support and maintain justice for social peace and welfare and must fight for an egalitarian, liberal and humanistic approach at every opportunity.

It gives me immeasurable pleasure and excitement to give you the good news of "The Hall Kurdî", which will be published in Kurdish, which has just joined our family as of this month. I would like to extend my heartfelt thanks to Erol Başak, the editor, who contributed to the publication of this magazine with his great enthusiasm, effort, devotion, and dedication. I would also like to express my sincere thanks and gratitude to all friends who contributed with their articles, essays, their encouragements, advice and help. It is our great hope to be the voice of millions of people who speak Kurdish and who love and appreciate Kurdish culture and values.

Best regards,

Dr. Osman Komurcu

Editor's Choice ROBERT DAVEY INTERVIEW

KURDISH HOUSE LONDON INTERVIEW

REXAMINATION OF AMERICAN PAINTINGS

Contents Contents Con

08

Let us just mute the noises of the world for a while and ask the question; “Take care of yourself.”

14 18

Interview: Kurdish House London is all about turning Kurdish ideas into a working reality.

Taking a look at the poem ‘Remember the Fallen’, as a tribute to those who fought in the WW1.

ntents Contents

20

The annexation of the Crimean Peninsula caused geopolitical tensions not only in the Black Sea, but also in the Sea of Azov,

23 25 Gecenin ruhu sinerken Varşova’nın üstüne, Eylül.

Osmanlı Devleti’nin resim sanatında bir dönüm noktası olan Osman Hamdi Bey kimdir?

Contents

Execution of Foxes Words by Mohammed Omer Shabbir

National Robin Day (21st December) This is an annual event celebrated in the UK, to bring awareness to wildlife that is impacted by the changing seasons. On the 21st of December the purpose is to raise awareness of avians (birds) and mammal that endure harsh winters, and how people can support them through this challenging time of year.

The Robin bird is the national bird of the UK and takes centre place in this cause, scientific name ‘Erithacus Rubecula’. The Robin represents the celebrations of Christmas and the seasonal traditions.

This symbol can help create a bridge, to the importance of the natural world to our lives. The winter months are difficult for animals as the temperatures fall and food becomes scarce. Wildlife needs that extra support to survive these hard months. This could be by building a bird feeder or even a bird house to provide some much needed shelter.

Also, creating a more wildlife-friendly space in your garden.

List of some birds in the UK Robin Goldfinch Chaffinch Blackbird Starlings House sparrow Magpie List of some mammals in UK Badger Beaver Fallow deer & red deer Fox Otter Pine marten Scottish wildcat

These lists are just some of the animals that can be found across the UK. The focus will be on the fox as they are constantly under threat by unlawful hunting. Foxes are an iconic aspect of British wildlife, and only recently received protection by legalisation. In Scotland the Protection of Wild Mammals Act 2002, and in England/Wales the Hunting Act 2004 banned fox hunting. However, evidence suggests that hunts are taking place and breaking the legal protection granted to foxes.

When the ban on fox hunting was introduced a sport of mimicking the hunt was created, the activity of ‘trail hunting’. This is suppose to follow a pre-laid trails for the hounds to pursuit. It has recently came to light, after years of investigating that these ‘trail hunts’ are being used to cover illegal fox hunting.

Lynx, wolves and bears have all been hunted to extinction in the UK. The direct consequences have been creating a unbalanced ecosystem that fails to control population levels of grazing animals and destroying the natural landscape. This negative impact on woodlands harms a host of other species in the process that depend on mature grasslands for cover. By killing animals at the top of the food chain the natural environment has suffered by default. Human hunting activities without real purpose has shifted the natural world.

Gathering for a morning hunt, Dressed in black boots and red jackets, The horses ready for the pursuit, The hounds longing for blood, A fox searches for basic rations, Unaware of the scheming threats, Heading towards the safety of the den, Longing to rest after a long night.

The trumpets signalling the start, The uproar of hooves pounding the ground, The barking of bloodhounds, Extending across the countryside, A game of death has begun, At the expense of a innocent fox, A red target for sinful crooks, Killing all of God’s creatures.

Bowing his head for the final time, Knowing the end is near, As trumpets are deafening the air, And hounds barking all around, Cornered into the den, Before the final act of death, Now lying in a grave, Dying alongside a dynasty, all executed.

Care Matters!

Words By Beatrice Gabriela

How many times do we hear the phrase “Take care of yourself” during a day? Sure, there is our loving mom, protective dad, our better half and so on. Let us just mute their voices for a while and ask the same question again. Voila! There is the nice lady on Instagram that talks about skincare, the nutritionist giving tips and tricks about healthy meals on TV, the fitness coach posting about physical exercising at home on Facebook, the TV commercials selling us medicines for every personal problem we might have, the authorities reminding us about the dangers of COVID whenever possible; and there are more and more voices awaiting to join the choir. The question here is not if we do take care of ourselves, but rather how much are we able to take care on our own? Are we entirely responsible for the state of our both body and mind?

Following the medicalization of the crucial moments of life – birth, childhood and old age, the idea of a transferable haleness, paired with the popularization of books on personal growth have encouraged us to grow confident in our sole capabilities up to demiurgical levels. While it is without any doubt that matters about the limitation of human capacities were strongly debated during ancient times as well, the Ancient Greeks were cautious enough to ensure the existence of a place where people could meet their full potential, no matter the answer. And with this “place” enters the influence of architecture on what we nowadays call “the happiness index”.

Epidaurus was a small city in ancient Greece, on the Argolid Peninsula at the Saronic Gulf, most celebrated for its healing center named after Apollo’s son Asclepeion, the greatest healing god of the antiquity. Far from being a mere analogue of the contemporary hospital, Epidaurus was a total landscape for healing the human being by accessing all his dimensions: body, mind, and soul. Architecturally, the complex built around the health centre dating from 4th or 3rd century BC included a sleeping hall, clinics, sanctuaries, a guest house with 160 guest rooms, mineral springs, an athletics stadium, and even a theater. The built environment was governed by a logical itinerary: the suffering man would first spend a night inside the enkoimeteria, the sleeping hall, or more precisely, the dream hall where the healing god revealed the cure inside the dreams. Following the divine encounter, the ill would either be treated inside a clinic, practice in

fresh air, drink water from the springs, or even reach for spiritual catharsis within the theater. The surrounding natural scenery was as much part of the healing process as any other treatment.

The totality of the landscape was the one taking care of the people.

The Greeks, however, were not the only civilization that treasured foundational knowledge on how to build for health and wealth. In the 1st century BC, the Roman architect Vitruvius wrote his famous multi-volume work “De architectura”, where apart from introducing the 3 pillars of architecture– firmitas, utilitas and venustas, he offered a great theory about the importance of site, light, the winds and the waters in creating the built environment. In his view, the health of the inhabitants was directly related to the quality of the building, which was given by a fine balance between the 4 primary elements: soil, moisture, air and fire. Should any of these 4 prevail, the inhabitants shall be predisposed to illness.

Despite religious, arcane, or simply superstitious, ancient practices for wellbeing along Hindu traditions of vastu shastra and Chinese feng shui proved to be no less commonsensical. It is for their holistic approach that the modern movement in architecture was based on those classical ideals of a healthy city.

As a reaction to the 19th century city’s configuration that had smoothened the path for overcrowding, disease, crime and unrest, the 20th century was marked by the hygienist movement that was to change the face of architecture drastically. The care for people’s health was at the heart of urban design. In this sense, probably the greatest hygienist campaign was Haussmann’s renovation of Paris, which consisted of the demolition of medieval neighbourhoods that were deemed unhealthy and overcrowded, the creation of a network of large avenues, the organization of

parks and squares, and the construction of new sewers, fountains and aqueducts.

Architecturally, a curious parallel between the clinic and the domestic led to some of the key monuments of early modernism that celebrated the aesthetics of the sanatorium.

The contamination of the modernist domestic space with hygienist ideals is perfectly portrayed in Richard Neutra’s “Lovell Health House” (1929), a Los Angeles house designed by the Austrian architect with dedication to the health benefits of West Coast living. Neutra’s inspiration from the Ancient Greek landscape is translated through the panoramic terraces of the “Health House” designed for sunbathing and outdoor sleeping, for the sake of a healthy mind. Comparable to the gymnastics stadium, the outdoor gym together with the rooms for diet and therapy offer the inhabitants the tools needed for maintaining a healthy body. The white-tiled, white enamel, chrome and glass aesthetic of the facades is tributary to the new architectural language, the language of hygiene and surgical precision.

The side effect of this language, however, is the creation of an anonymous, overly clean non-space that can no longer soothe our souls. The necessity of a healthy world to live in has not only led to the elimination of the dirt, miasma and darkness of the Victorian slums. It has also determined the extinction of the Victorian decorative stucco, the personality of a patterned wallpaper, the expressivity of a textured surface, the warmth of tiny spaces etc.

The understanding of what makes a healthy architecture has changed in time. What used to be about holistic wellbeing turned to be more about hygiene, only to return now to a more psychological approach. No matter how difficult it might seem to measure it, care is nonetheless a matter of commonsense and intuition, and it is not by chance that the antiquity remains one of the finest examples of a healthcare system. Care matters, and taking care of ourselves is sometimes just not enough. I do believe that the best thing we can do for each other is to take care of the world we live in, with the hope that in return, the world will care.

FINDING A BALANCE BETWEEN DOING MODE AND BEING MODE OF THE MIND Words by Ece Dericioglu

In the mindfulness approach, there are two modes of the mind: The “doing” mode and the “being” mode. When we develop insight into ourselves, in other words, when we watch ourselves as an observer, we can see the transition between these two modes. In fact, the better the balance between these states of doing and being is established, the healthier our lives will be.

So, what do we mean by doing and being? We can define it as a state of action and a state of inaction, respectively. Action includes not only physical movement, but also mental activity through which thoughts flow intensely. Inaction is intentionally synchronizing the mental process with the movements-or immobility-of the body.The doing mode of the mind is fed by thoughts; the being mode of the mind focuses on sensations.

Thoughts fill the tank of the doing mind. This mode contains many variables such as fictions, stories, strategies, facts, possibilities, calculations etc. On the other hand, the being mode of the mind which does not need all these variables focuses solely on sensations like current feelings, sounds, images, smells in the environment. It is not in contact with any information or possibility that is not there at the moment.

The doing mode of the mind is in the past and in the future; the being mode of the mind focuses on the moment.

The doing mind is not “present” at the moment. It moves away from this moment by analyzing the past and constructing the future. Mark Williams and Danny Penman in their book “Mindfulness” talk about the fact that we spend about half of our lives without being in the “moment”. When our mind is focused on the past and the future, we cannot activate the being mind.

The doing state of mind automatically comes into play; the being state of mind is driven by intention and awareness. The doing mind is our "default" mode. This means that it gets activated without effort. While thinking and developing strategies is a positive feature of being human in order to survive, too much of it brings negativities. The being mind, however, does not get activated by itself; it requires intention, effort,

awareness. Returning to the present moment and to the sensations in the body is only possible with deliberate effort. The doing mind is in a state of reactivity to the uncomfortable experience; the being mind does not escape from experience, whether it is pleasant or not. When an experience is unpleasant, the doing mind tries to escape from it, to get rid of it, to change it. Instead of accepting things as they are, it reacts immediately. To put it another way, the impulse is followed by the reaction.

On the contrary, the being mind puts a distance between the impulse and the reaction. Instead of reacting instantly, it accepts the experience as it is.

The doing mode desires the present moment to be different; the being mode takes kindly to experiences. The doing mind is not satisfied with the present moment. It strives to make the present moment different. It develops a strategy and puts it into practice in order to get rid of an unpleasant situation and emotion. The being mind, on the other hand, accepts all the pleasant and unpleasant aspects of experiences. Instead of running away from an unpleasant situation, it chooses to stay with it recognizing the effects of the unpleasant experience. We see that there is more room for "acceptance" here.

The doing mind accepts thoughts as real; the being mind perceives thoughts as processes of the mind.

While the doing mind perceives the thoughts as real, the being mind knows that thoughts are not concrete facts and watches them come and go, just like clouds. The doing mind gets into a panic about thoughts, on the other hand the being mind remains calm. The doing state of mind strives until it is tired or its goal is achieved; the being state of mind approaches the whole process from a broader perspective.

The doing mind goes on continuously, while the being mind is in a kind of effortlessness. Therefore, it is peculiar to the being mind to stand still, to wait, to watch, to “let go”. Instead of constantly struggling for a goal, it sees the process as a whole. In the light of all the facts mentioned above, we can say that "mindfulness" is possible with effort, that is, when the "being state of mind " comes into play. On the other hand, we do not imply a superiority of the being mind to the doing mind. When the two are in balance, our capacity for emotional resilience is strengthened.

Words by Kevin Peace Victoria Island was a place that I was very curious about and have wanted to visit since the day I came to Canada. I saw here as if the projections of my childhood and life spent in Istanbul/Islands.

The beauties I encountered from the first day I set foot made me feel like I was at my own home and made me happy. I even made plans to move and live here in the future. I can say that it affected me so much.

In this month’s article, Victoria and I want to talk about the places I’ve visited and share with you the experiences that I’ve had Victoria is the capital of Canada’s BC province and has a population of 75,000. I can say that it is the capital of peace with its beautiful nature, mild climate and calm lifestyle. In fact, tourism and technology are among their most important activities. In addition to being a clean and peaceful place, it has such beautiful natural beauties that one would want to come here again that it makes one feel like in a fairy tale world. First of all, I would like to talk about the magnificent atmosphere of Butchart Garden that attracts you in. Butchart Gardens was declared a National Historic Site of Canada in 2004. The gardens are considered to be one of the best examples of a beautiful garden structure in Canada. 20th Century features are still eloquently preserved, and the transformation of a limestone quarry into a sunken garden is considered an exceptional creative achievement. A full day can be spent exploring the grounds of Butchart Gardens.

At the entrance visitors will find the original Sunken Garden, progressing on to find the Rose Garden, Japanese Garden, Italian Garden and the Mediterranean Garden. Butchart Gardens comprises beautiful gardens, colourful and fragrant flowers, attractive fountains, a selection of bronze statues, a first-class restaurant and unbelievable views. Even the gift shop is impressive! Butchart is a flower lover’s paradise and a photographer’s dream playground. From the first moment I saw it, I felt like I was in heaven. I didn’t want to leave here all day long.

I wish I had a house here and lived for 1000 years, I said to myself. The cultivation and care of flowers brought from various parts of the world has created an incredible place. In fact, our world could have had such a colourful and magnificent image.

It is the person who creates or destroys such places with great visual pleasure…

I can say that the BC Royal Museum is another place with great visual pleasure that should be visited and seen in Victoria. I would like to share some information about its history with you. Founded in 1886, the Royal BC Museum consists of The Province of British Columbia’s natural and human history

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museum as well as the British Columbia Provincial Archives.

The Royal BC Museum includes three permanent galleries: Natural History, Becoming BC, and the First Peoples Gallery.

The museum’s collections comprise approximately 7 million objects, including natural history specimens, artefacts, and archival records. The natural history collections have 750,000 records of specimens almost exclusively from BC and neighbouring states, provinces, or territories. The collections are divided into eight disciplines: Entomology, Botany, Palaeontology, Ichthyology, Invertebrate Zoology, Herpetology, Mammalogy, and Ornithology. The museum also hosts touring exhibitions. I can say that the wonderful visuals I encountered after I started to visit the museum took me on a journey in history. I can say that the visuals of the glacial age are the ones that impressed me the most. In fact, the visuals and historical artefacts I encountered in other chapters show us that history and museums are treasures that add colour to our lives.

As I’m a staunch fan of sci-fi movies, another place I wanted to see was Hatley Castle, where the X-Men movie was filmed. In fact, its history is slightly different, but over time, it leaves a tremendous impact in terms of both its location and appearance. To speak briefly The Castle was completed in 1908. From 1941 until 1943 when Grant Block was completed, the Castle served as dormitory and mess hall for cadets and staff officers at Royal Roads Military College. It is now the administrative centre of Royal Roads University.

It houses the President, Vice-President, the Managers of Finance and Facilities, and the administrative support staff for Royal Roads University. James Dunsmuir commissioned Samuel Maclure, a Victorian architect, to design the “Castle”, and Messrs. Brett and Hall, landscape artists of Boston, Massachusetts, to plan the gardens and surroundings. Local stone, trimmed by Valdez and Saturna Island sandstone was used in the building’s construction. Its impressive exterior is matched only by the lavishness of the interior appointments; oak and rosewood panelled rooms, a baronial fireplace, teak floors, and specially made lighting fixtures. Many movies were shot at this site and since 1996, it is best known as the filming location for The X-Men, as Professor Xavier’s School for Gifted Youngsters.

I can say that the parliament building in Victoria, the capital of BC, has a magnificent effect visually. The evening has a more magnificent visual with the lights. It is a magnificent work both in terms of being close to the port and in a central location. In fact, the sight I saw when I first went to the parliament building broke my heart. In May 2021, Canadians were shocked at the discovery of the remains of 215 children at the site of a former school in British Columbia. The bodies belonged to Indigenous children, some believed to be as young as three years old, who went through Canada’s state-sponsored “residential school” system. This was truly an embarrassment, not just for Canada, but for all humanity. Because all children are precious and matter. I hope this world will be a place ruled by children...

KURDISH HOUSE LONDON INTERVIEW

Osman: We are so proud to meet you today to talk about your organisation.

Zeynep: Thank you, I appreciate it.

Osman: You are one of the representatives of Kurdish House London.

Thank you for your time. When I came to London last year, I tried to find out what is in this city for the Kurds or what is related to the Kurds.

And while searching on the internet, Kurdish House London was the first address that appeared on the screen.

Could you introduce KHL (KURDISH HOUSE LONDON) to those who have not had the opportunity to know you?

What is KHL? What does it do?

Zeynep: Sure. Kurdish House London is all about turning Kurdish ideas into

empower the Kurdish community into healthy and purposeful work choices.

Whilst this can help economically, we see many positive benefits socially and mentally when we are doing meaningful work and projects.

Osman: What does it do?

Zeynep: Three categories of things really.

Firstly we provide direct, one-to-one help on all things work related, based on our expertise within the network, from help with CVs to work and supply contracts, applying for funding for your project, through working on initial business plans or even pivoting your start-up. We have a number of experienced Kurdish people who help

We helped them through the application process and supported them with the program. The last two programmes were for people from minority backgrounds, and in that program, the largest background represented was Kurdish people, which we are very proud of. So, it looked practically like it was for Kurdish people. That’s how many Kurdish people could go onto the program for their startup ideas.

Osman: Thank you. How did the idea of such an organisation come into being?

Zeynep: So, it started as a concept from the rather obvious observation that Kurdish people in London do not get much support from the main em-

a working reality, so that could be, for example, supporting Kurdish entrepreneurs from ideation phase- an idea- to being a small business, or to grow and improve their business, or that could be helping young Kurdish people with their career choices and development.

So, as an organisation, we’re a work focused network of Kurdish people.

Yeah! That’s what it is.

Osman: Is it a Platform?

Zeynep: Like everyone, we do some of our training and meet-ups online, but we are a network of people who love to meet and to help each other with our projects and plans, sparking new ideas and making connections in person as and when we can.

Osman: So, what is precisely your purpose?

Zeynep: Our organisation aims to

with this.

Secondly, we provide a regular programme of online and live work-related training, meet-ups and workshops.

Thirdly, we introduce and help people access the incredible resources available in the UK for your career development and helping with your own startup. For example, we can provide mentors for Kurdish people through our partnership with Migrant Leaders https://www.migrantleaders.org.uk As another example, we can help your start-up idea get connected with Hatch Enterprise for 1, 12 day or six month part-time incubation programmes to help you launch your business. https:// hatchenterprise.org/our-programmes/ And in the last couple of years, we helped ten Kurdish people get onto startup programmes at Impact Hub.

bassy, cultural attaché and trade missions of their countries of origin. What could help? What if Kurdish people who have migrated from the different countries could come together, meet, work together and empower one another- across the boundaries of Kurdish languages, politics and religionusing business English and meeting in the supportive environment provided by the Impact Hub co-working spaces.

Getting people out of running their business from their room or kitchen and into a professional and respectful community. And to provide professional input, services and connections within the big city of London.

Osman: Who thought about founding this organisation?

Zeynep: A woman called Belinda Perriman, who in 2015 left a ca-

reer running mega projects around the world in a mega oil company to support Kurdish people in the way she felt that she could best contribute, through supporting work and economic empowerment. Belinda lived and travelled extensively in the region and had the opportunity to visit and hear about the situation in Eastern Turkey, Western Iran and the Kurdish Region of Iraq. She visited Syria in April 2011, but disappointingly missed the opportunity to travel to the North East.

She attended dozens of Kurdish events in London and asked questions around what might be useful to the community. The organization was launched at Newroz 2016 from the co-working community and space, Impact Hub. Osman: And why was it named Kurdish House?

Zeynep: Because, for long and complex reasons Kurdish people have suffered particular and grievous injustices and this organization is exclusively for anyone who identifies as Kurdish or is helping Kurdish people. The concept of house comes from the fact that we operate like a family; we’re very kind and comfortable with each other, and we are very focused on helping each other- building the strength of our network together. So, you help others in the network as and when you can.

We are always based at a building with a strong sense of community and social purpose. Kurds are of course not isolationist(!) and so, instead of having and maintaining our own building, we operate within the thriving, energizing London social enterprise community. For most of the time, this has been at the Impact Hub community spaces. Now we’re based out of The Conduit, located by Covent Garden tube station. https://www.theconduit. com It is a lovely, five-floor space for ‘change-makers’- entrepreneurs and individuals doing interesting and sometimes really amazing things in the community. So that’s kind of our physical house, although the house concept is really to do with how we operate -welcoming and growing together, and it also links to the ‘pay it

forward model’. What’s that? The pay it forward model means that when you receive support from us, whether that’s an introduction or help to get onto a particular program, even substantial help with your business plan- we don’t expect anything in return except for you to provide value for other people in our network as and when you can.

Like the ripples on water; we help you and you help others in and beyond the Kurdish House network. Most of this involves no transfer of money, although some people do make business arrangements together.

Osman: What kind of organisations have been developed during these six years?

Zeynep: As long as it is legal, we help any kind of Kurdish led business. We

“One thing I want to urge, especially for Kurdishfocused organisations, is to consider making

their organisations more

politically and religiously neutral.”

have helped many ‘traditional’ Kurdish run businesses: import/export, dry-cleaning, construction companies, even a taxi company. We have helped software development and artificial intelligence careers and start-ups, and the growth of tech-based companies.

We have also helped Kurdish run charities to develop in their professionalism; around their communications, the measurement of their impact, their grant applications and their success rate. We love and encourage creativity and social purpose; at the same time we try to help increase the income generation from these activities, such as online magazines, films, works of art. In 2021 we ran monthly workshops, the ‘employability series’ for young Kurdish people, encouraging them and providing resources to work out what they really value and need

from their working lives.

Osman: Great. So, what does one need to do to participate in KHL? Do they need to become a member or not?

Zeynep: In 2022, we are registering Kurdish House London as a Community Interest Company, allowing us to apply for more grants to run an organization that does not charge people. At that time, we are looking to formalize membership. But right now, membership means that you are regularly interacting with us as a network, and you’re regularly part of our activities.

You are a Kurdish person with some kind of business idea, an existing small sized business, or you could be a Kurdish young person that has some kind of again, business idea or you’ve got some kind of career aspirations that you would like help with. That help could be to figure out what skills and interests would suit best to enter a specific career, or it could be you wanna meet Kurdish people that are experts or professionals in that specific career, or you want a regular work mentor; so yeah these are some kind of some of the ways. If someone wants to be involved in our network, please email us. The information is on our website: kurdishhouselondon.com Osman: Do you have regular meetings of Kurdish House London (KHL)?

Zeynep: Yeah, we have in-person sessions on Friday, every single Friday 2-6pm at The Conduit in Covent Garden. And to make sure to include members of the network who are currently outside of the country, we also do zooms every second week on a Tuesday early evening; Zoom calls every two weeks on a specific topic area which is led by one of our members, based on their expertise... And we have monthly socials as well.

Zeynep: Do follow us, interact with us on our social media platforms: Twitter, Instagram, LinkedIn, Facebook. Yeah, reach out on social media, although ideally by email to organise either a zoom call or an in-person meeting to get to know you and introduce ourselves and understand what kind of things you want to work on and how

we might help you- so that’s the starting point.

Osman: Do these people have to be in the United Kingdom to get your support, or not?

Zeynep: It really depends on what level of support you want. We’ve been international during the pandemic as more of our activities were on zoom.

We can provide more and longer-term support to those based in the UK, but we try to help anyone who identifies as Kurdish. And with a Kurdish father, that includes myself. By being part of the network, I have learnt so much.

When I first got involved in Kurdish House London, I had a social media marketing business. So initially, I just got involved to network with fellow entrepreneurs. Then I saw a serious opportunity here to make it from a concept into an organisation. Then from there, as I got more involved in Kurdish House London, I got onto one of the startup programs that we were helping other Kurdish entrepreneurs get onto- that was for my social enterprise, ‘Displaced’. Displaced is basically about facilitating workshops for young people from ethnic minority backgrounds to explore their cultural identities. Kurdish House London helped me collaborate with another organisation which had a similar mission to me and helped me apply for funding. I was able to get over £10,000 of funding through that support from Kurdish House London. And because I am part of the network, that support is ongoing from members, and not just

for that initial start-up programme and grant. And that support will of course continue to be offered to the editors of this magazine!

Osman: Thank-you. Just switching gears now- around this pandemic affecting the whole world. Even the largest economies have been badly affected. The cost of living and unemployment rates are generally higher in countries where Kurds live. Of course, there are other significant problems, such as wars and immigration. Considering all these, do you have any advice for young Kurds who have an idea or a goal to fulfil?

Zeynep: Even if your situation is difficult, always try to figure out how can you give back to society with whatever your idea is. In terms of a mindset, have belief in yourself and have belief in your idea and surround yourself with people that uplift you, not people that criticise you, or patronise you because you’re young, or because your idea is big. Those people are dream stealers and they are not the types of people that will help to have around you when you’re trying to achieve big things. I started to see results in my projects and things were working when I changed my environment.

Even if there are not suitable people directly around you, find people that are like-minded such as YouTubers or social media people that inspire you that you can relate to even though you can’t really connect with them closely, you can at least see them from a distance as an example of someone

that inspires you even if your own environment doesn’t. And reach out and connect with us at Kurdish House London.

Osman: Thank you so much, Zeynep for this meeting. And I want to ask the last question: Is there anything that you’d like to add, which I haven’t asked you?

Zeynep: One thing I want to urge, especially for Kurdish-focused organisations, is to consider making their organisations more politically and religiously neutral. We are an apolitical organisation. So, I mean we respect all our members who have varied political views. That’s fine. That’s up to them.

That’s their prerogative, but our focus is on work and not politics or religion as an organisation. By operating that way, we’ve been able to attract Kurds from all regions. We’ve got Kurds from Bakur, Rojava, Rojhelat and from Bashur- and that is pretty much in every meet-up of Kurdish House London. This is quite uncommon for Kurdish organisations to have all of the regions represented within their members, so I would like to urge organisations to think about how they can make their operations more accessible to the wide range of Kurds in our community because it’s quite beautiful how rich we are as a community.

Osman: Thank you very much Zeynep.

Thank you for the time you shared with us here. Hope to see you again.

Zeynep: Thank you.

Robert Davey interview

by Turku Naz Altinay

1. Could you please tell a bit about yourself and art? When did you start drawing, is this a part-time or full-time job for you?

Creativity has always been a big part of my life, I started drawing at the young age of five. My mother and father were a big reason why I started drawing. Growing up I would do creative activities with my mother and sometimes she would draw things for me, my father also loved to draw, he would sometimes draw for magazines, i use to watch him draw captivated for hours. Eventually that inspired me to draw as well, I use to copy drawings of characters I liked from mediums such as video games, movies, and cartoons, until I got good enough at drawing them exactly how I saw them. So you could say I taught myself. After this, other children in class noticed that I could draw, and I would draw for them nearly every day.

That love of drawing and creativity carried on throughout my life, I studied many things related to creativity and met many people who inspired me to carry on. At that moment I illustrate part time alongside my full-time job but I hope in the future this will be a permanent job.

2. It seems that you are inspired by fantastic creatures and fantasy lands. Are there specific illustrators or painters that you are inspired from? Who are your favourite illustrators? that is correct! There are so many that I like but to name a few I love the works of Beatrix Potter, Yoshitaka Amano, Terry Pratchett , E. H. Shepard, Shaun Tan and Hayao

Miyazaki. Their ingenuity and imagination really helped me to shape my style.

3. We can see from your artwork that they constitute a series which seem to be interrelated with each other. Is there a story behind your drawings? Are they individual and non-related drawings or they are connected to each other?

That’s a very good question, I am currently in the early stages of writing and illustrating a book for young or young at heart readers.

There are illustrations that will eventually be used in my story.

However, there are some pictures that I just want wanted to draw from my imagination, that not are tied to anything but someday that may change.

4. What techniques and resources did you use to design your last few pieces?

At this current time, I like to use more traditional methods over digital, I love using pen and ink, pencil and sometimes paint as I feel more connected with my work. I would like to expand into other areas in the future.

5. How do you get inspired to produce a piece of artwork? Do you have a playlist that gets you going and stay in the zone while drawing? I am usually inspired by things that I see around in my dayto-day life, music is another source of inspiration for me, and I have a number of playlists that I listen to while I am drawing. I usually listen to music that matches the mood or tone of what I am working on, oftentimes creating a specific playlist for a particular piece of art that helps me stay in the zone.

That can range from scores such as Howard Shores, The Lord of the Rings to Jazz artist like Ryo Fukui.

Other days it can jump from musicians such as Lindsey Sterling to Engima.

6. How does drawing and producing a piece of artwork make you feel? What is the process before you start drawing and how do you feel at the end of it? Often, I feel gamut of emotions before I start a piece of work, I feel excited and nervous at the same time. As with each piece I feel I am putting a part of myself in each one, often I find myself experiencing a sense of

escape and just end up losing myself in the world that I am illustrating. By the end I feel a great sense of fulfilment and accomplishment and I feel that I’m making something worthwhile.

7. Do you ever have artistic blocks? What do you do to overcome a creative block?

In the past i use to struggle with blocks frequently, I use to feel frustrated and not be happy with anything that I was working on. So I just get away from my desk, go out for a walk in nature and distract myself with the sights and sounds.

Other times I would do something fun like play video games where often I would play something that I could be creative in other areas such as building. Both I found very helpful towards clearing my mind.

8. Do you sell your artwork? If you sell, where and if not, why?

Recently I have started accepting commissions, also I am in process of setting a store on places like Etsy and EBay. In the past I was not too confident with my work, I thought it was not a high enough standard that people would want to buy, however I have changed that mind set and feel positive about what I produce.

9. How do you start a project?

When do you know it is finished?

This may sound cliche ideas usually just come to me, usually while I’m working on other pieces. I will do a little bit of research and just develop it from there. In terms of finishing, I am never truly finished as I move on to the next illustration straight away. At the moment, I feel like I have infinite source of ideas and hope that continues.

10. What is the driving force behind your art? The fantastic elements seem to be abundant and how do you define your art?

Personally, for me it’s my love of

illustrating and just drawing in general, I think with anything we should love what we do, otherwise what’s the point? I love to create illustrations that I hope bring a sense of joy and adventure and I really hope people get that feeling from work. I would say the biggest thing that defines my work is colour, I like to evoke moods such as happiness with my work and I feel bright colours are the best way to achieve that.

11. What life events influenced your decision to become an illustrator? There was a couple of events that really pushed me towards this career path. One was the loss of a family member, it had a very big impact on my life, they were a big reason why I got into drawing in the first place. They never actually saw anything that I drew yet I always felt a sense of connection when I did draw. It was common interest we both shared, even though they never wanted to pursue it as a career I hope with me following this path that I could follow the dream for the both of us. The final thing that really made pushed me harder was the first lock down, for a while I felt I wasn’t really doing anything worthwhile with my life. I had plenty of time on my hands and seriously thought about what I wanted to do, I wanted to live life for myself and start enjoying and actually feeling fulfilled with what I was doing with it.

REMEMBRANCE DAY & C

T

he subject for discussion is Remembrance Day and conflict. Tensions around the world have always existed, and acknowledging this is the first stage in preventing any escalations.

access to every conflict around the world due to the huge advancements in technology and information in the last few decades. This is a combination of responsible journalism and a moral driven society.

The poem ‘Remember the Fallen’, is a tribute to all those around the world that fought to protect rights and freedoms in the first world war.

Also, to remember the immense military contribution made by the Commonwealth. The decision to wear a poppy pin has more meaning than most realise. The Commonwealth had a shared stake in the outcome of the conflict. And I encourage all to further investigate the historical importance of every country that fought against oppression.

The first war world is often referred to as ‘The Great War’, due to the unprecedented scale of absolute destruction. Most could not imagine the loss of lives. The estimate of lives lost in WW1 is 20 million.

And by the time the second world war ended in 1945, the lives loss is three times that figure. At least 60 million people lost their lives directly or indirectly as a result of this conflict.

In 1919 the first commemorate was observed to mark the end of the first world war. This is now commonly referred as Remembrance Day. This is acknowledged on the second Sunday of November each year (this year falling on the 14th). The significant of this day is to understand the sacrifice made by civilians and military personnel. By serving and being caught in the crossfire of war. This has evolved into a day of remembrance for every conflict and war that has taken place, from the first world war to the present day. Unfortunately there is always a conflict of some kind taking place.

The request to remember and concentrate thoughts on those who had died as a direct result of conflict, is critical. And needs to be prioritised to understand the real cost of war.

Today we collectively have more

The cause of both of these wars was due to at least one of the following three reasons. Territory, resources or ideology. Moreover, every conflict in human history has at least one of these as the main cause. In the present day these aspects can still be clear indications of exposing the escalation of conflict. Matters around finance fall under resources, as currency is a type of resource designed for trade. To prevent future wars occurring society needs to realise that humanity is just one large community.

CONFLICT

Words by Mohammed Omer Shabbir

Rexamination of American Painting before Modern Era in the Light of “Avant-garde and Kitsch” by Greenberg Türkü Naz Altınay

T

o apply the “kitsch” and “avant-garde terms” to American painting before Modern Era, one needs to understand the both concept, their close and coexistent relationship profoundly. The “kitsch” is a term coined by Germans which is assumed that entered the language around mid-nineteenth century. There are a few assumptions about its meaning and these manifest much more than itself: “(1) ‘trash’ as a descriptive term, kitsch may derive from the German word kitschen, meaning den Strassenschlamm ausammenscharren (to collect rubbish from the street) [2] The German verb verkitschen (to make cheap), is another likely source” (Rugg, Department of Art History).

The avant-garde is much more complex when it comes to identify and define because meaning “vanguard” it creates “kitsch” along with itself.

With the end of 19th century and rapid changes caused by scientific leaps in human history, avant-garde motions started to boil all aspects of art with an elusive distinction from all other vanguard actions in history: detachment of itself from the turbulence of social turmoils, art for art’s sake and consequently an economic dependence on elite class.

The intention of this essay is to examine all artistic developments, particularly the notions which were coined in 20th century, kitsch and avant-garde applying to American federal and colonial painting from the point of socio-economical point of view; the widening effects of social, class and economical alterings reflecting upon

If the avant-garde imitates the process of art, we now see, kitsch imitates its effects.

-Clement Greenberg

the art from the foundation of America. As one to say, a Marxist point of view I intend and attempt to examine.

Throughout human history, mankind always sought ways of imitating, or in other words to create, sometimes to shatter the restraints and sometimes to provide and satisfy some expectations. In Aristotelian sense, all of art is nothing but imitation but 20th century some men got tired with this notion and attempted to create an art that “is aesthetically valid; something given, increate, independent of meanings, similars or originals. Content is

to be dissolved so completely into form that the work of art or literature cannot be reduced in whole or in part to anything not itself” (Greenberg, Avant-Garde and Kitsch).

With Industrial Revolution and emanation of massive production, urbanization worldwide, another term came along with avant-garde, perhaps they created each other; kitsch. The imitation of imitation of life- in Aristotelian sense- the pure result, effect based, produced, artifacial art. As Greenberg calls “universal literacy”, the result of Industrial Revolution created a need, an environment for supply demand basis for art, particularly literature. Today, the kitsch is all over and in us, there’s no need to look further and away, from Jeans commercials to sitcom TV Series which demonstrates “happily living families” and presents the society a pattern to live accordingly, they all are produced to satisfy the demand of “cultural” needs of masses.

The illusion of intellectuality and knowledge, taste for “high” art can be considered as the most dangerous side effect of kitsch. The need of this produced art generates by all means from the changing structure of social and economic dynamics of the world.

Before Industrial Revolution, art as to say was exclusive to a “certain” class. With the discovery of new world and foundation of a new civilization based on a “puritan work ethic” anew class emerged: merchant middle class.

The taste of art of American middle class of 17th and 18th century formed according to the cultural needs and demands generating from their position in the social strata.

“These people were determined to succeed in the world, and they possessed a powerful strain of materialism- something that seems to have become a part of the American character virtually with the found-

ing of the country. They listened to their ministers in the meetinghouse on the sabbath. But then devoted the rest of the week to profits in the counting-house.” (Craven, 43) The perception of art by its beholders and its creaters in that sense couldn’t defecate from the urge and impulse of pragmatism and satisfaction of a demand for a long time in American art until 20th century creating more and more imitations of its precedents ultimately reaching to a climax of cheap imitation: kitsch which is only and solely produced for the demand of masses to give “vicarious experience and fake sensations” (Greenberg, Avant-garde and Kitsch).

The close relation of kitsch in art with the relations of production can be explicitly observed in 17th century American painting and its successors.

New England Portrait techniques which is borrowed from “neomedieval portraits of Elizabethan and Jacobean Era” presents the “splendidness and nobility entangled with piety of middle class” gilded with their furnishing and ornaments. One of the best specimen of this style, Freake paintings, which are masterly decorated with details of attire and clothes which are lack of any dimension giving the sense of inertia. Elizabeth Eggingnton, Elizabeth Paddy Wensley portraits are one of many names of American colonial painting and much of them shows the same characteristics in content and form. Another sailent point is much of these paintings creaters’ names are anonymous still today which is the evident that art was percieved and utilized by middle class as a tool to chronicle of personal and societal history, not to change or transform it but to serve it. Beyond the middle class, the owners of paintings, the creators are too restrained and stuck into demands and notions of that age and unable to create something just to create, boundlessly and independently.

As the wealth of middle class flourished, the demand of a “high and aristocratic” art grew either. Due to the

lack of development of a unique and dependent taste for art in American society, the English trends had major effect on American painting. Beginning of 18th century was the closure of Elizabethan and Jacobean influences on painting and start for a new race: chasing the aristocratic painting which was “defined by the work of Sir Godfrey Kneller, the celebrated portraitist of the English aristocracy” (Craven, American Art: History and Culture).

Even the techniques and mediums of aristocratic style was altered to suit the taste of middle class to satisfy the demand. The successors of this current such as Smibert, Feke made little adjustment in these techniques although created nothing new, just transferred Baroque understanding of English painting to America and modified it to suit the middle class tastes. When it comes to content, the alterings were much more less, the subject was middle class, elite class and leaders, the facade of the American society which needed to be shown to the world for a long time.

The end of 18th century came along with significant social changes for America, the end of long term exploitation and dominance of British Empire on its relatively new colonials, gaining American nation’s independence and creating its own country, metaphorically coming of its age forged a necessity of her own voice: express the newly formed nation’s feelings and cherish her triumphs. The demonstrative paintings of leaders’ heorism on battlefields and nation’s struggles to gain its independence became the main subject matter of the art in all its fields; literature, painting, poetry, sculputure and so on. “Now a country with heroes and international figures, there was need of painters who could tell of its greatness, its victories, its ideologies. An art limited to portraits of merchants and planters was no longer adequate. Just as monumental architecture arose to express the new spirit of America, might a comparable school of painting emerge? While

the effort was certainly made, in the end America turned to a pictorial art that was less grand, and less rooted in European traditions.” (Craven, 136)

Throughout Federal Era, the art, exclusively painting shaped once again according to the need of society and nation; becoming more and more repetitive and didactic in its content, subject matter and imitator in techniques, forms. It may be said that the solely “unique” or “vanguard” progress was made by West in history painting, demonstrating the heroes, leaders in their daily dresses not “nobler, timeless garb of ancient Greeks or Romans” as Sir Joshua Reynolds suggested who was his contemporary painter having an immense effect on American painting. Other than that, the artistic development in that period was timid, the painters and artists were in the struggle for existence in a turbulent atmosphere, newly shaped country. Actually, at the bottom of the timidness of American artists the reason was the country and nation was new, the dynamics hadn’t established

“Aristocratic style was altered to suit the taste of middle class

to satisfy the demand.

”

yet and the cultural and artistic dependency of American culture had long maintained till 20th century.

Considering the features of kitsch defined and diversified by Greenberg, much of the artistic works, paintings are kitsch in American painting until 20th century with the beginning of modernism but they are milestones and cultural, artistic basis for a newly consisted nation. Usage of formulas, giving fake sensations, availibilty and easy accessibilty, result-basedness are the characteristics of kitsch and all these matches with the characteristics of American colonial and federal painting.

Throughout the industrial and techno-

logical developments, the access to art and literature gained its momentum so the supply demand increased either and ultimately the kitsch term entered the art criticism literature. But one needs to understand before deciding its whether kitsch or not, the valuation of its production reason and purposes, existentialist reasons of the art are not the solely and sufficient factors to reach the judgement comprehendingly because the intention of the creation of an artistic piece can only be known by its creator apart from the evidently created pieces only for cultural consumption. Thus one needs to understand the concept of kitsch before label an artistic work with “kitsch” because although the line between kitsch and avant-garde may be seem bold and extensive, its far from that, they entangled and coexistent which have a symbiotic relationship and owe their existence to each other.

Russia’s Game In The Sea Of Azov Words by Dr. Razvan Munteanu

S

ince its declaration of independence in 1991, Kiev has identified the situation in Crimea as a national security vulnerability in the wake of the Black Sea Fleet camp in Sevastopol. Negotiations with Moscow, completed in 1997, laid the groundwork for a treaty that would resolve the Soviet legacy, with Russia receiving 81.7% of the fleet while Ukraine only 18.3% , or 87 vessels and one submarine. The annexation of the Crimean Peninsula caused geopolitical tensions not only in the Black Sea, but also in the Sea of Azov, 70% of which was controlled by Ukraine until 2014. In fact, Kiev had total control of the Kerch Strait, which is why Moscow had to pay taxes for entering

the Sea of Azov. Thus, known as the Maeotic Lake in Antiquity, the Sea of Azov was in a latent security situation until the end of the Cold War, so that, as of 1991, its Status and that of Crimea would be at the center of Russian-Ukrainian diplomatic disputes that had to be tackled by a bilateral agreement signed in 2003, which delimited the waters of Azov as Russian-Ukrainian territorial waters.

Obviously, the agreement was not respected by Moscow after the Russians annexed Crimea and took control of the Kerch Strait, following a long series of actions by which Russia violated the rules of international law, both by unilaterally closing the strait, arresting Ukrainian ships and their personnel in 2018 or the harassment of commercial vessels going to Ukrainian ports in Azov.

However, Moscow does not see a problem in these actions, although Ukraine is simply deprived of its rights as a riparian state. In this context, the city of Mariupol plays an extremely important role. Located in the vicinity of the separatist regions, the port provides a significant part of the need for raw materials and food for the entire eastern Ukraine. However, ships arriving at the port are stopped by the Russian authorities through checks that delay their arrival for weeks or even months. Along with other subversive actions, including the information war, Russia wants to increase social tensions in eastern Ukraine to the detriment of Kiev.

Moreover, by excluding Ukraine from its own maritime areas, Russia is now exploiting resources such as fishing or oil and natural gas reserves, to the detriment of international law. Later, the construction of the Crimean Bridge between Russia and the peninsula, a 3.7 billion dollars project despite Russian economic problems, raises not only problems regarding the capacity of ships that should reach Mariupol, but also many questions on the protection of the Black Sea environment. As the bridge is not enough to satisfy Russia’s regional interests by controlling the Sea of Azov, Moscow manages to supplement the supply needs of troops stationed in Crimea, being able to project its power beyond the Black Sea. For example, the port of Sevastopol thus managed to play an extremely important role in Russia’s military campaign in support of Bashar al Assad, both by transporting food,

grain or ammunition to the Damascus regime and by moving military ships to Tartus, ships that supported the Russian military offensive.

Last but not least, by capturing the Sea of Azov, Russia managed to fully control the Volga-Don Canal, used by the US itself during the period 2000-2003 in order to supply Azerbaijan, becoming the only broker to control the sea route between the Black Sea and the Caspian Sea. Moscow is putting constant pressure on Ukraine, beyond over 2,000 km of common border. The Russian Troops Task Force, which is a threat to the Odessa region, one of Ukraine’s few economic connections to international markets, remains in Transnistria. In Belarus, beyond some differences with Moscow, Lukashenko is willing to support Moscow’s interests in Kiev. Lukashenko himself, wanting to divert attention from internal events, said that militants who are coming to Belarus to orchestrate protests are trained in Ukraine, thus showing Minsk’s willingness to rally to the Russian narrative.

Throughout this picture, the Black Sea-Crimea-Azov Sea triad remains the main threat to Ukraine along with the separatist movements in the Donbas, which is why, in the short and medium term, a much stronger NATO response is needed but also the support of the international community regulation of the Sea of Azov on the basis of the United Nations Convention.

New York Style Biscoff Cookies.

Ingredients:

150g Biscoff spread 190g Cold butter cut into cubes 120g Caster sugar 120g Light brown sugar 100g Crushed Lotus Biscoff biscuits 420g Plain flour 10g Baking powder 1 tsp Salt 2 Eggs beaten 100g White chocolate chips 100g Milk chocolatchips

Method: 1. Grab a tray or food container and pop a teaspoon sized blobs of Biscoff spread, about 15 and pop it into the freezer.

2. In a stand mixer or you can use a hand mixer, add the cold butter (make sure it’s just come out of the fridge!) and the sugar’s into the bowl and mix on a medium speed for about 2mins, you want to combine the butter and sugar only until it looks like small chunks.

3. Add in the chocolate chips and combine on a low speed for about 1 minute, just so it’s evenly mixed through. ( At this stage you can instead opt to use all milk chocolate chips or all white chocolate chips whichever you fancy)

4. In a separate bowl, sieve the flour, baking powder and salt and whisk together before adding into the rest of the ingredients, and add the crushed biscoff biscuits.

On a low speed combine the dry ingredients for about 1 minute just until the mixture resembles breadcrumbs.

5. Lastly, add in the beaten eggs and mix until combined and has formed a dough.

6. Now divide the dough, depending on how large or small you want the cookie to be,you can weigh the dough and then divide it individually into equal sizes.

7. Now take out the frozen biscoff blobs, then take each cookie dough and make an imprint with your thumb, then place the blobs in and wrap it around. You don’t want to make a smooth ball, just a quick squeeze to make it round, a bit rustic. Continue to do this with the rest, and put them on a tray or a food container and pop them in the freezer.

Now the best part is you can bake your cookies from frozen! They keep well in the freezer for up to 3months, which means you can have a cookie or 2 whenever you want.

Just preheat your oven to 180c, place the cookie dough on a baking tray lined with parchment paper and bake for about 15-17 minutes, you should look for a nice golden top. Once

baked, take them out of the oven and leave them to cool.

(Trust me, do not touch them until they have cooled as they will still be soft) If you want to eat it warm, best to let it cool for 10 minutes and you can enjoy the oh so gooey middle.

Areej Dali

TURKISH PAGES

Yaralar var bedenimde; koyu, derin yaralar... Canımı yaktıkça yakar. Az sonra öleceğim diyorum. Ölmüyorum. Yaralar var bedenimde; koyu, derin yaralar... Ama hiçbiri diğeri gibi değil. Ne biri diğerinin yarımı ne de hepsi bir bütünün parçası. Hepsi bana tanıdık, hepsi birbirine yabancı. Biri cüzzam gibi ruhumu yalnızlıkta ve sessizlikte yavaş yavaş emiyor, kemiriyorsa diğeri elimden tutup bir uçurumun kenarında bırakıyor öylece. Biri yollarda savuruyorsa benden arta kalan tenimi, yere değmeden kendi içinde binlerce parçaya bölünen bir toz zerresi misali; diğeri derin denizlerde boğuyor beni. Biri dudağının kenarında alaycı gülüşüyle ölümlerden ölüm beğendiriyorsa bana, aynanın karşısında elbise denetircesine...

Diğeri Azrail’in davetiyesini tutuşturuyor elime aceleyle, sanki uzun zamandır beklediğim bir filmin ilk gişe biletiymiş gibi.

Dilan Çeliker

Bende Kayıp Ve ben. Ve ben kayboldum kendi bedenim içinde. Arıyorum, ellerim nerede, gözlerim, ayaklarım nerede? Kokum, nefesim, tenim... Korkularım, sevinçlerim, özlemim... Ruhum, yüreğim... Sesim nerede? Hunharca yağmalanmış bir han gibiyim; viran... Haydutların saldırısına uğramış bir köy misaliyim; sessiz, ıssız.

Bir bilebilsem nereden başlayacağım, nerede bulacağım. Heybetli bir dağın göbeğinden düşen bir çığın altına mı saklandı acep ellerim; buz... Koca bir şehri özenle dip köşe demeden süpüren bir selin cazibesine mi kandı gözlerim; dinmek bilmez. Yoksa gecenin sinsi yüzüyle dansa mı tutuştu ruhum; katran karanlık... Kimsesizler mezarlığında isimleri değil de numaraları olan ölülerle saklambaç oynamaya mı daldı acep korkularım; kırık beyaz... Bir bilsem nereden başlayacağım. Tanrının bile yaratırken yalnızca göz ucuyla bakıp: ‘Bu eteğin üstüne bu bluz oldu’ dercesine ve ne eteğin boyuna ne de bluzun rengine bakmaksızın yarattığı beni, ben nerede bulacağım?

Nazif Özaslan

Eyl l De Biter Ü

Gecenin ruhu sinerken Varşova’nın üstüne Eylül Süzülür damla damla Renk renk Islak geceden Sonsuzluğa uzanır Yağmur tıpır tıpır Adımlar usul usul Islak ıslak bir rüzgar Bir gurbet şiiri getirir Dudaklarına Kaldırımlar sessiz Bulvarlar geniş Her saat ayrı bir hatıra getirir Eylül ıslak gözlerle şimdi Sarı titrek bir yaprak Dallarda can çekişir Tir Tir

Öksüz bir çocuk gibi Işıklar yanar söner Yağmur yağar tıpır tıpır Geriye bakmazsın hiç Renkler renklere karışır Sular sulara Eylül eylüllere Güller güllere Küller küllere Renkler birbirine karışır Sel Sel Ürperten bir yalnızlık Peşin sıra hep Bir kemandan sızan hazan musikisi Islak geceye karışır Gece gittikçe koyulaşır Yağmur tıpır tıpır Kaldırımlara düşer gölgen Her şey karmakarışık Herşey darmaduman Renkler, sesler, sular Her şey paramparça hatıraların kırık aynasında.

Hedefim var, Hayat!

Doğmak ve őlmek kolaymış.

Zor olansa, hayat’a tutunabilmek.

Yaşam, kendisinden alacaklı.

Bu yűzden savaşmak lâzım.

Hedef; hayat, őlűm’e karşı durmak.

Bir hasta, yatağında ilâç bekliyor.

Ben, kapalı kapılar ardında bekliyorum.

Kapalı kapıya koştum, geriye dőndűm.

Buğulanmış camdan baktım.

Aralık ayı, kışın ağır dőnemi.

Dışarıda, yağmur tufan, fırtına kopuyor.

Gőkteki gűrűltű, ődűmű kopardı.

Yeryűzűne şimşekten ışıklar yayıldı.

Ayni bendeki hisler, canlanmış.

Içimdeki yara izlerinden, katlanarak artmış, artmış acılar.

Gayret, çaba, cesaretimi toplayıp; Dışarıya, koştum.

Ne yağan yağmur, ne de başka gűç.

Yıldıramaz, yılmam da.

Gideceğim yol, korku barındırmaz.

Hayatta őlűmsűzleşmek yok, biliyorum.

Buna rağmen, yaşamak umudu gerek.

Yağan yağmurdan, kopan fırtınadan korkmuyorum. Hedefine gitmek; Yatağındaki hastayı kaldırıyormuş.

Hedeflerim var hayat, sana meydan okuyorum.

Sen, iki yakama yapışsan, ben seni, silkeler atarım.

OYA KANBUR

OSMANLI DEVLETİ’NİN ÇOK YÖNLÜ RESSAMI: OSMAN HAMDİ BEY Words by Zeynep KEMALOĞLU

döndükten sonra hukuk öğrenimi için 1860 yılında Paris’e gitmiştir. Bir yandan hukuk öğrenimine devam ederken bir yandan da güzel sanatlar okulunun derslerine katılmıştır. JéanLéon Gérôme ile Boulanger gibi tanınmış ressamlardan dersler almıştır. Osman Hamdi Bey’in Paris’te en çok etkilendiği sanatçı ise Gérôme olmuştur.

Fransa’daki oryantalizm akımının öncülerinden Osmanlı Devleti’nin resGérôme’un öğrencisi olim sanatında bir dönüm ması, Paris’te resim eğitiminoktası olan Osman ni alması onun resimlerine Hamdi Bey kimdir? Osde yansımıştır. Resimman Hamdi Bey, eğitimini lerindeki ve kompozisyonAvrupa’da yapmış önemli larındaki ifade tarzı Fransız devlet adamlarından EdOryantalistlerinden ethem Paşa’nın oğludur. 30 kilendiğini açıkça gözler Aralık 1842’da dünyaya önüne sermektedir. gelmiştir. Osman Hamdi Osman Bey Fransa’dan Bey’in öğrencilik yıllarında İstanbul’a geldikten sonra resme fazlaca merakının olduğu, babası Halil Edhem devletin farklı kademelerinde görev almıştır. 1881 Bey tarafından Viyana’ya yılında Osmanlı Müzesi gönderildiği ve buradaki müdürlüğüne getirilmiş, müzeleri ve sanat eserler1883 yılında günümüzde ini gezdikten sonra bütün Güzel Sanatlar Akademihayatı boyunca sanatla si olarak bilinen Sanayi-i ilgilenmeye karar verdiği Nefise Mektebi Âlisi’ni bilinmektedir. Viyana’dan Osman Hamdi Bey, 19. yüzyılın ikinci yarısında yaşamış olan Osmanlı ressamıdır.12 yıl Fransa’da kalmış olmasının da etkisiyle Oryantalizm (Doğu kültürünün tasvir ve taklidi) akımında pek çok eser meydana getirmiştir. Bu eserler Türk resim sanatının temellerini oluşturması açısından oldukça önemlidir.

kurmuştur. Türk Müzeciliği için oldukça önemli olayları gerçekleştirmiştir. Devlete ait eserlerin yurtdışına kaçırılmasını önlemek adına Eski Eserler tüzüğünü değiştirerek Asar-ı Atika Nizamnamesi’ni uygulamaya koymuştur. Ayrıca Osmanlı Müzesi’ni kurmuş ve müzenin düzenlenmesini sağlamak adına çalışmalarda bulunmuştur.

Osman Hamdi Bey bütün bu çalışmaların yanında pek çok Arkeolojik kazıda da görev almıştır. Özellikle

1887-1888 yılları arasında Sayda’da yaptığı kazıda bulduğu dünyaca ünlü eski lahitlerin ve Büyük İskender Lahdi onun uluslararasında tanınmasına neden olmuştur.

Osman Hamdi Bey’in asıl ünü Türk resim sanatında olmuştur. Çok yönlü bir kişiliğe sahip olan Osman Hamdi Bey eser üretimine hayatı boyunca devam etmiştir. Resimlerindeki etnik çeşitlilik, renklerin kullanımı, Doğu kültürünün insanları, giysileri, mimari dekorasyonları onun resim alanındaki farklılığını ortaya koymuştur.

Batı’da popüler olan Oryantalizm etkisini Osmanlı Devleti’ne getirerek bir ilki gerçekleştirmiştir. Bu atılım onun Osmanlı’nın ilk ve sonuncu Oryantalist’i olarak kalmasını sağlamıştır. Yaptığı

Osman Hamdi Bey’in önemli eserleri arasında “Mihrap, Kamlumbağa Terbiyecisi, Rahle Önünde Genç Kadın, Ab-ı Hayat Çeşmesi (Okuyan Arap), Okuyan Genç Emir, Leylak Toplayan Kız, Osmanlı Kadını, İki Müzisyen Kız, Saçlarını Taratan Kız, Cami Kapısı Önünde Konuşan Hocalar, Bursa’da Yeşil Cami’de, Silah Taciri, İranlı Halıcı, Kur’an Okuyan Kız,

tablolarda Doğunun mimari eserlerini özellikle camilerinin, türbelerinin güzelliklerini anlatmaya çalışmıştır.

Ancak tablolarında kullandığı nesneler ve karakterler yüzünden çoğu zaman eleştirilere maruz kalmıştır.

Tablolarında kullandığı arka fonda daha çok cami iç mekânları, Saray kapısı, Köşk odaları gibi tarihi mekânları tercih etmiştir.

Osman Hamdi Bey’in eserlerini portreler, manzara resimleri, natürmortlar ve figürlü kompozisyonlar meydana getirmektedir.

Fakat Natürmortlarının sayısı azdır. Eserlerinin çoğunluğunu figürlü kompozisyonlar ve portrelerden oluşturmaktadır. Bu yüzden Türk resim sanatına insan figürlü kompozisyonu getiren ilk ressam olmuştur.

Eserlerinde kullandığı ışık ve canlı renkler bağlı bulunduğu akımı açıkça yansıtmaktadır.

Haremden, Tavla Oynayan Zeybekler, Arzuhalci, Cami Kapısında” tabloları yer almaktadır.

Tablolarında başkarakter olarak kendini kullanmıştır.

Tablolarında kullandığı figürlerin kıyafetleri, duruşları ana unsurları, mimari ayrıntılar ise yardımcı unsurları olmuştur.

Yaptığı çalışmalar ve ürettiği eserlerle Osmanlı sanatında çığır açmış olan Osman Hamdi Bey geçirdiği hastalıktan kısa bir süre sonra, 1910 tarihinde vefat etmiştir.

MEZOPOTAMYA’NIN İNCİSİ MARDİN C oğrafi konumu sebebiyle Mardin, tarihsel süreç içerisinde Babiller, Asurlular, Hititler, Urartular, Persler , Selçuklular, Emeviler, Abbasiler, Anadolu Selçukları, Artuklular ve Osmanlı İmparatorluğu döneminden beri önemli bir merkez olarak kullanılmış. Bu yönüyle kültürel açıdan oldukça zengin ve renkli bir şehir olarak karşımıza çıkmaktadır. Anadolu’da uzun zamandır Bizans İmparatorluğu’nun hakimiyetinden çıkmış olan Diyarbakır, Mardin , Meyyafakirin(Silvan) gibi şehirler bulunmaktaydı. Çağdaşlarına göre ileri bir bölge olan bu şehirler, bu niteliklerinden dolayı sultanların hedefi haline olagelmiştir.

1003 yılında ise şehirde Türkmen nüfusu fazlalaşmış ve bölgede yaşayan en büyük Türkmen ailelerinden biri olan Artuklular Mardin’i ele geçirmişlerdir. Üç yüzyıl

yapımına Artuklu döneminde başlansa da Akkoyunlu hükümdarı Kasım İbn Cihangir döneminde tamamlanmıştır. Medrese eğitim verdiği

SEHER BASAK

sürecek Artuklu hakimiyeti böylece başladı. Artuklu hakimiyeti boyunca şehir en parlak dönemini yaşadı ve tam bir şehir haline geldi.

Artukluların güçlü bir ekonomik yapıya sahip olmaları, hükümdarların ticari ve sosyal hayatı canlı tutmak için bölgede çarşılar, köprüler, kervensaraylar, camiler, medreseler gibi dini ve sivil mimari eserler yaptırmalarını sağladı Anadolu’daki medrese mimarisinin gelişmesine büyük katkısı bulunan Artuklular’ın günümüze kadar ulaşan medreslerinden biride Kasımiye Medresesidir. Medresenin

dönemde bölgenin en önemli eğitim merkezlerinden biridir.

KASIMİYE MEDRESESİ Kesintisiz 400 yıl hem dini ilimler hem de fenni ilimler verilerek binlerce alimin yetiştirildiği medresenin duvarlarında astronomi ve tıp

bilimine ait simgeleri 700 yıldır görmek mümkündür.

Yapımına Artuklu hükümdarı Sultan İsa zamanında başlanılan medresenin inşası, Timur dönemindeki Moğol saldırıları sebebiyle yarım kalmış ve Akkoyunlu Sultanı Kasım İbn Cihangir döneminde tamamlanmış. Aktif olduğu dönemde bölgenin en önemli eğitim merkezlerinden olan medresede türbe, çeşme ve 23 derslik bulunuyor.

Mardin şehir merkezine 2 km. kadar güneybatısında, oldukça eğimli bir arazi üzerine inşa edilmiştir. Yapının üzerinde inşa kitabesi olmadığından tarihlendirme konusunda araştırmacılar

mimar tarafından yapıldığı düşünülmektedir. Kasımiye Medresesi’nin genel görüntüsü( Albert Gabriel’den) Zinciriye Medrese ile benzer bir mimari tasarıma sahip medrese, eğimli araziden iyi bir şekilde faydalanarak kesme taş ve tuğladan inşa edilmiştir. İki katlı ve çeşitli mekanlardan oluşan yapının kuzey cephesi tamamen, doğu ve batı cephesi kısmen kapalıdır.

Portalden girilen revaklı büyük avlunun etrafında, iki kat üzerine revaklar arasına dizilmiş hücrelerden oluşmaktadır. Sanat Tarihçiler, burasının tek başına bir medrese olarak değil bir külliye gibi tarafından iki farklı görüş düşünüldüğünü öngörüyor ve ileri sürülür. Medreseyi ilk araştıranlardan Albert Gabriel, yanında bulunan zaviye-türbe bunun kanıtı olarak gösteriyor.

Zinciriye Medresesi’yle benRivayetlere göre Kasım Paşa zer özellikler taşınmasından yola çıkarak yapının, Artuklu öldüğünde , kız kardeşi kanlı hakimiyeti sonlarında Zinciri- gömleğini ağıtlar eşliğinde bu ye Medresesi’nin yapımından eyvanın duvarlarına sürmüş hemen sonra muhtemelen aynı ve günümüzde o duvarlara su

döküldüğünde ortaya çıkan izlerin Kasım Paşa’nın kan izleri olduğuna inanılıyor.

25 cm. kadar cepheden dışarı çıkıntı yapan anıtsal portal, mukarnas ve bitkisel süslemelerden oluşan dikdörtgen bir çerçeve içine alınmıştır.

Zinciriye Medresesi’nden farkı sekizgen kasnak üzerine yerleştirilmiş mihrap önü kubbesinin dıştan dilimli olmamasıdır.

Mihrap Önü Kubbesinin Dıştan Görünümü Medresenin iç avlusu etrafı dört taraftan revaklarla çevrili, ortasında havuzu olan dikdörtgen bir plana sahiptir.

Avlunun doğu ve batısında yer alan revak dizisinin arkasında aynı ölçülere sahip, öğrenci hücresi olarak bilinen küçük odalar sıralanır. Kasımiye Medresesinde gün doğduk-

tan sonra güneş batana dek tüm derslikler güneş ışığından faydalanır. Öğrencinin hocasının huzuruna giderken başını eğmesi ve hürmette kusur etmemesi için derslik kapı yükseklikleri bir metreden biraz fazla yapılmıştır.

Avlunun güney kanadında dışa açılan yıldız tonozlu revaklar yer alır. Bu revaklar doğu ve batı uçlarında hemen hemen aynı ölçülere sahip, enine gelişen, türbe mekanları yerleştirilmiştir. Girişleri avlunun yan revaklarından sağlanan türbe mekanları, dıştan dilimli kubbelere sahiptir. Avlunun kuzey kanadında ise, iki kat yüksekliğindeki bir kotaya sahip, içinde çeşmesi olan büyük bir eyvan yer alır.

Eyvandaki çeşme, suyunu kanallar yoluyla avlunun ortasındaki büyük havuza iletir.

Medresenin Ortasında Bulunan Havuz Medresenin avlusunda bulunan havuzda ki suyun akışı ile doğumdan ölüme kadar insan hayatı ve sonrası simgelenmiştir. Çeşmeden çıkan su doğumu, döküldüğü yer gençliği, ince uzun oluk olgunluğu ve suların bir havuzda toplanması ölümü temsil eder. Daha sonra bu su kanallarla toprağa aktarılır ve bu da toprakta tekrar can bulur.

LONDRA KÜRT EVİ

REPORTAJ

Osman: Organizasyonunuz hakkında konuşmak için bugün sizinle bir arada bulunmak bizim için bir onur ve bundan çok mutluyuz.

Zeynep: Teşekkür ederim, sağ olunuz.

Osman: Londra Kürt Evi ‘nin temsilcilerinden birisiniz. Bize zaman ayırdığınız için teşekkür ederim. Sorularımızla başlamak istiyorum. İlk soru: Geçen yıl Londra’ya geldiğimde bu şehirde Kürtler için acaba ne var, Kürtlerle ilgili bir şeyler var mı diye biraz araştırma yapayım dedim. İnternette arama yaparken ekrana gelen ilk adres Londra Kürt Evi oldu.

Zeynep: Teşekkür ederim!

Osman: Sizi tanıma fırsatı bulamayanlara KHL’yi (LONDRA KÜRT EVİ) tanıtır mısınız? KHL nedir? Nasıl bir platform? Ne gibi işler yapıyor?

Zeynep: Tabii. Her şeyden önce, Londra’da Kürtleri ararken ilk bize denk geldiniz, bu bizim mükemmel SEO’muz olduğu anlamına geliyor, çok memnun oldum doğrusu. Dolayısıyla, Kürt Evi Londra, Kürtlerin fikirlerini gerçekleştirmeye yönelik bir oluşumdur. Örneğin, Kürt girişimcileri fikir aşamasından küçük bir işletme olmaya kadar desteklemek veya genç Kürtlere kariyer gelişimlerinde yardımcı olmak.

Yani örgüt olarak hepimiz iş odaklı bir Kürt halkı ağıyız. Genel hatlarıyla böyle şeyler yapıyoruz.

Osman: Peki amacınız tam olarak ne?

Zeynep: Teşkilatımız Kürt toplumunu ekonomik olarak güçlendirmeyi amaçlıyor.

Osman: Peki bu amaç için neler yapıyorsunuz?

Zeynep: Yani, ağdaki uzmanlığımıza dayanarak bire bir yardım ve dayanışma sağlıyoruz. Ağımızdaki veya kuruluşlarımızdaki profesyonellere tanıtımlar yapıyoruz. Ayrıca, insanların kariyer gelişimlerine ve yeni başlayanların Birleşik Krallık’ta bulunan kaynaklara erişmelerine yardımcı oluyoruz.

Osman: Teşekkür ederim. Böyle bir organizasyon fikri ilk olarak nasıl ortaya çıktı acaba?

Zeynep: Bu harika bir soru. Yani bir konsept olarak başladı. Bir işe başlama niyeti olan veya farklı iş fikirleri olan Kürtleri bir araya getirelim ve birlikte nasıl çalışabileceğimize bakalım gibi bir fikirle ortaya çıktık çünkü örgütün

kurucusu Kürtlerle ilk kez Ortadoğu’da çalışırken tanışıyor. Bu şekilde başladı.

Osman: Bu derneği kurmayı kim düşündü?

Zeynep: Belinda Perriman adında bir kadın 2016 yılında derneği kurdu.

Osman: Peki neden Kürt Evi olarak adlandırıldı?

Zeynep: Çünkü bu organizasyon Kürt halkı için ve evin adı, birbirimize karşı çok nazik ve rahat olduğumuz bir aile gibi çalışmamızdan dolayı ve sadece yardım etme beklentisiyle birbirimize yardım etmeye çok odaklandığımız gerçeğinden geliyor. Ağdan daha başka bir beklentimiz yok.

Osman: Ne zamandan beri bu organizasyon faaliyetlerine devam ediyor?

Zeynep: Yani yaklaşık altı yıl oldu.

Osman: Altı yıl mı?

Zeynep: Altı yıl, evet!

Osman: Bu altı yılda ne tür çalışmalar, etkinlikler, organizasyonlar yaptınız?

Zeynep: Yani Kürt girişimcilere ve bireylere çeşitli şekillerde yardımcı olduk. Bu, hibe fonu almalarına yardımcı olmak yoluyla olageldi. Atölye çalışmalarımız var. Bu atölyeler, Kürt gençlerine yönelik son istihdam edilebilirlik serimiz gibi atölyeler. Bunu pandemi sürecinde zoom üzerinden yaptık ve insanları akademisyenlere bağladık. Bir dizi çalışma yaptık, gerçekten tanıtım yapmak ve insanların programa girmesine yardımcı olmak için, örneğin, son zamanlarda on Kürt’ün bir başlangıç programına girmesine yardımcı olduk.

Başvuru sürecinde onlara yardımcı olduk ve hazırladığımız programlarla onlara destek verdik. Bu program azınlık kökenli kişiler içindi ve bu programda temsil edilen en büyük arka plan, gurur duyduğumuz Kürt halkıydı. Yani pratikte Kürt halkı için olan bir program. Bir şeylere başlama fikirleri olan Kürtler bu programa bu şekilde katılabilir.

Osman: Akademik derken Kürt akademisyenleri mi yoksa herhangi bir akademisyeni mi kastediyorsunuz?

Zeynep: Yani ya Kürt toplumuyla ilgili bir şeyler okuyan insanlara yardım ediyoruz ya da ağımızı farklı üniversitelere veya belirli araştırma ve akademisyenlere tanıtıyoruz. Ağımız içinde Kürt akademisyenlerimiz de var.

Osman: Kürt Halkı mı?

Zeynep: Evet, Kürt akademisyenler.

Osman: “Ev” deyince akla bir ev, bir bina ya da ona ait bir merkez geliyor.

Ancak KHL’nin somut bir merkezi yok.

KHL çok farklı. Neden bir “eviniz” veya “merkeziniz” olmadığını sorabilir miyim?

Zeynep: Aslında şu anda, Covent Garden’da bulunan toplulukta ilginç şeyler yapan bireylerin yanı sıra sosyal girişimciler için bir ortak çalışma alanı olan kanalın dışındayız. Şu anda dayandığımız fiziksel alanımız bu. Kendimize Kürt Evi adını ilk verdiğimizde, belirli bir binada yerleşik değildik ve faaliyetlerimiz ve desteğimiz ihtiyacı olan herkese ulaşıyor. Yani, bunu zoom’da yapabiliriz. Bunu fiziksel bir yerde yapabiliriz, ancak ev konsepti gerçekten nasıl çalıştığımız ve herkese ne kadar misafirperverlik sunduğumuzla ilgilidir ve aynı zamanda sahip olduğumuz ileri ödeme modeliyle de ilgilidir.

Ve ileri ödeme modeli, bizden destek aldığınızda, bu ister bir tanıtım ister belirli bir programa girmek için yardım anlamında olsun. Karşılığında sizden, ağımızdaki başka bir kişiye değer sağlamanız dışında hiçbir şey beklemiyoruz, böylece bazı insanlar birlikte iş ortaklığına girebilir veya hatta üyelerimizden birine pazar araştırmasında yardımcı olabilir.

Osman: Bize daha fazla ayrıntı verir misin lütfen? Ne tür işler yapabiliyorsunuz? Bu platformda (KHL) düzenli toplantılarınız var mı?

Zeynep: Kürdistan’da bazı insanlar ortak ticaret yapmak gibi ticari teşebbüslerde bulundular. Bazı insanlar birlikte projeler tasarlamaya başladılar ve projeleri için fon bulmak için fon başvurusunda bulundular ve birlikte çalıştığımız işletmeler, sosyal bir amacı olan veya mevcut Kürt fikirlerine yardımcı olan işletmeleri teşvik etme eğilimindeler, işlerini nasıl yapabileceklerini öğreniyorlar. Yani, sosyal bir amaç etrafında bir olan etkinliklere destek olmak, yani genel tema, gaye bu.

Osman: Harika. Peki, KHL’ye katılmak için ne yapmak gerekiyor? Üye olmak gerekiyor mu, gerekmiyor mu?

Zeynep: Yani üye terimini bizimle bir ağ içinde düzenli olarak etkileşimde bulunduğunuz ve düzenli olarak faaliyetlerimizin bir parçası olduğunuz anlamında kullanıyoruz. Bunu başardığınızda, her

derebilir veya bana e-posta gönderebilir. Bu arada ben Zey. Zeybinboga@ kurdishhouselondon.com adresinden bana e-posta gönderebilirler. Kürt Evi Londra’nın kurucu ortağı ve program yöneticisiyim. Tüm bu bilgiler web sitemizde yer almaktadır: kurdishhouselondon.com Osman: E-mailinizi oraya ekleyeceğiz.

Zeynep: Tamam, teşekkür ederim. Evet, e-posta gönderebilirler veya bize sosyal medya platformumuzdan ulaşabilirsiniz. Twitter, Instagram, LinkedIn, Facebook’umuz var. Unuttuğum başka bir platform var mı? Bilmiyorum. Evet, önce e-postalarımıza ulaşın, gerçekten sahip olduğunuz fikirleriniz için size yardımcı olup olamayacağımızı görün.

Osman: Çok teşekkür ederim Zeynep! Şu anda çok önemli bir sorum var. Anladığım kadarıyla gençlere ve özellikle kadınlara ayrı bir önem veriyorsunuz. İş kurma hedefi olan Kürt girişimci adayları sizinle nasıl iletişime geçebilir?

şeyden önce... ya bir tür iş fikri olan bir Kürt’seniz ya da bir tür küçük ölçekli işletmeniz varsa ya da bir Kürt genci olabilirsiniz. Bir tür yeni iş fikrine sahipseniz veya yardım etmek istediğiniz bir kariyer hedefiniz varsa, yardım almak için bizimle tanışmak isteyebilirsiniz, belli bir kariyeri elde etmek için hangi becerilere ihtiyacınız olduğunu anlamak için bize başvurabilir, tanışmak isteyebilirsiniz. Bu özel kariyerde uzman veya profesyonel olan Kürtler, size bir yol gösterip yardımcı olmaya çalışacaklardır.

Osman: Bu platformda (KHL) düzenli toplantılarınız varsa görüşmelerinizi nerede ve nasıl yapıyorsunuz?

Zeynep: Evet, Covent Garden’da her Cuma, Cuma günleri yüz yüze seanslarımız oluyor ve ayrıca iki haftada bir Salı günleri zoom yapıyoruz; Zoom iki haftada bir, uzmanlığına dayalı olarak belirli bir şey yapmak isteyen üyelerimizden biri tarafından yönetilen belirli bir konu alanında oluyor. O hafta bir zoom konusu belirliyoruz. Hepimizin aylık sosyal ağları da var, biri ağımıza dahil olmak isterse, bize e-posta gön-

Zeynep: Yani, genellikle, bize sosyal medyadan veya e-posta yoluyla ulaşırsanız, sizlerle tanışmak ve yakınlaşmak için yüz yüze bir toplantı düzenleriz.

Ben sadece sizi tanımak, kendimizi tanıtmak ve ne tür şeyler üzerinde çalışmak istediğinizi anlamak için buradayım, bu bir başlangıç noktası.

Osman: Bu insanların desteğinizi alabilmesi için Birleşik Krallık’ta olması gerekiyor mu, gerekmiyor mu?

Zeynep: Gerçekten ne düzeyde destek istediğine bağlı. Faaliyetlerimiz zoom üzerinden olduğu için pandemi sırasında uluslararasıydık; yani, pandemiden çıktığımızda, hizmetlerimizi gerçekten genişlettik ve sosyal medya, Kürtleri uluslararası alanda da destekleyebilmemize yardımcı oldu, ancak sağlayabileceğimiz desteğin düzeyi, istediğiniz desteğe ve bulunduğunuz yere göre değişir. Herkese yardım etmeye çalışıyoruz.

Osman: Sizin yardımlarınızla projelerini hayata geçiren ve sizlerin desteğiyle başarıya ulaşanlar var mı?

Zeynep: Evet, elimizde birkaç örnek var.

Osman: Başkalarına ilham verecek birkaç örnek verebilir misin?

Zeynep: Tabii. Kendimi örnek vererek; yani Kürt Evi Londra’ya dahil olduğum ilk zamanlarda bir sosyal medya pazarlama işim vardı. Bu yüzden başlangıçta, diğer girişimcilerle ağ oluşturmaya başladım. Sonra burada işimi bir konseptten bir organizasyona dönüştürmek için ciddi bir fırsat gördüm. Oradan, Kürt Evi Londra’ya daha fazla dahil olduğum için, diğer Kürt girişimcilerin girmesine yardımcı olduğumuz başlangıç programlarından birine girdim ve bu benim işim “Yerinden Edildi”.

“Yerinden Edilmişler”, temel olarak etnik azınlık kökenli gençlerin kültürel kimliklerini keşfetmeleri için atölye çalışmalarını kolaylaştırmakla ilgilidir. Kürt Evi Londra, benimle benzer misyona sahip başka bir kuruluşla iş birliği yapmama ve fon başvurusunda bulunmama yardımcı oldu. Kürt Evi Londra’dan gelen bu destek sayesinde 10.000 sterlinin üzerinde fon elde edebildim.

Osman: Şu anda tüm dünyayı etkileyen bu salgın var. En büyük ekonomiler bile kötü etkilendi. Genel olarak tüm dünyada bir ekonomik kriz var. Kür-

tlerin yaşadığı ülkelerde genel olarak hayat pahalılığı ve işsizlik oranları daha yüksek. Tabii ki, savaşlar ve göçler gibi başka önemli sorunlar da var. Tüm bunları göz önünde bulundurarak bir fikri ya da hedefi olan genç Kürtlere bir tavsiyeniz var mı?

Zeynep: İlk tavsiyem bize ulaşmanız ama diğer bir şey de durumunuz zor olsa bile düşünüyorum ki, her zaman fikriniz ne olursa olsun topluma nasıl geri dönebileceğinizi anlamaya çalışın ve ayrıca bir diğer tavsiyem de zihniyet açısından tavsiye, kendinize inanmanız ve fikrinize inanmanız ve etrafınızı sizi eleştiren veya genç olduğunuz için ya da fikriniz büyük olduğu için patronluk taslayan insanlarla değil, sizi yücelten insanlarla kuşatmaktır. İnsanlar hayal hırsızlarıdır, gerçekten öyleler ve büyük şeyler başarmaya çalışırken etrafınızda bulundurabileceğiniz türden insanlar değiller. Projelerimde sonuçları görm-

“Babam korkunç koşullarda zulümden kaçmış birisi.” eye başladım ve ortamımı değiştirdiğimde işler yolunda gidiyordu. Çevrenizdeki insanlar olmasalar bile, YouTuber’lar veya size ilham veren sosyal medya insanları gibi sizinle yakın ilişki kuramayacağınız insanlarla gerçekten yakın bağlantı kuramasanız bile, en azından onları görebilirsiniz.

Kendi çevreniz olmasa bile size uzaktan ilham veren biriyle iletişim kurun; yani, şimdilik bunları tavsiye ediyorum.

Osman: Bu görüşme için çok teşekkür ederim Zeynep. Ve son soruyu sormak istiyorum: Eklemek istediğiniz ama size sormadığım bir şey var mı?

Zeynep: Özellikle Kürt odaklı örgütler için teşvik etmek istediğim bir şey, örgütlerini siyasi ve dini açıdan daha yansız, daha tarafsız bir hale getirmeyi düşünsünler. Örneğin biz apolitik bir derneğiz. Yani farklı siyasi görüşe sahip tüm üyelerimize saygı duyuyoruz.

Bu iyi. Bu onlara kalmış. Bu onların

ayrıcalığı, ancak bizim odak noktamız siyaset veya bir organizasyon olarak din değil, biz iş icabı, iş kurma gereksinimleri işin oluşmuş bir kurumuz.

Bu şekilde çalışarak tüm bölgelerden Kürtleri çekmeyi başardık. Bakur’dan Kürtlerimiz var; Rojava’dan Kürtlerimiz var; Rojhelat’tan Kürtlerimiz var; Başur’dan Kürtlerimiz var. Kürt örgütlerinin tüm bölgelerinin kendi üyeleri tarafından temsil edilmesi oldukça alışılmadık güzel bir durum, bu yüzden örgütleri, etkinlikleri topluluğumuzdaki geniş Kürtler için nasıl daha erişilebilir hale getirebileceklerini düşünmeye teşvik etmek istiyorum çünkü bu oldukça güzel. Toplum olarak zenginiz biz.

Osman: Biraz kişisel. Demek Londra’da yaşayan genç bir Kürt kadınısınız. Bu da bir yorum: benim gördüklerim ve söylemek istediklerim burada Londra’da çok tecrübeli birisiniz ve çok insan var, farklı ülkelerden çok sayıda Kürt kadını. Onlara, İngiltere gibi demokratik bir ülkede yaşamak gibi bu imkanlara sahip olmayanlara, sizde var ama onlarda olmayan…. onlara ne önerirsiniz? Genç bir Kürt kadını olarak onlara gelecekleri için neler önermek, neler tavsiye etmek istersiniz?

Zeynep: Yani demokratik ülkelerde olmayan Kürt kadınları için bu doğru mu?

Osman: Evet!

Zeynep: Bu gerçekten benim için zor bir soru çünkü İngiltere’de doğdum ve demokratik yaklaşımı olmayan bir ülkede hiç yaşamadım. Tabii babam bir Kürt. Babam korkunç koşullarda zulümden kaçmış birisi. Buraya geldi ama ben bunu hiç yaşamadım. Yani, bu özel deneyime değerli bir şey söylemek benim için gerçekten zor çünkü bu deneyime sahip değilim ama ülkenizde veya bölgenizde tüm Kürt kadınlarını destekleyen bu tür organizasyonların mevcut. Bunlara araştırın ve bu deneyimde uzman olabilecek örgütlere ulaşmak faydalı olur ama şahsen ben bu deneyimleri yaşamadığım için çok faydalı tavsiyelerde bulunabileceğimi zannetmiyorum. Gerçekten zor.

Osman: Çok teşekkür ederim Zeynep.

Burada bizimle paylaştığınız zaman için teşekkür ederiz. Görüşmek üzere.

THE HALL JANUARY 2022 CREDITS

EDITOR-IN-CHEIF DR. OSMAN KOMURCU

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