Original: English
CONVENTION FOR THE SAFEGUARDING OF
THE INTANGIBLE CULTURAL HERITAGE
INTERGOVERNMENTAL COMMITTEE FOR THE
SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE
Fourth session
Abu Dhabi, United Arab Emirates
28 September to 2 October 2009
Nomination for inscription on the Representative List in 2009 (Reference No. 00180)
A.
STATE PARTY: Turkey
B.
NAME OF ELEMENT: Karagöz
C.
COMMUNITY(IES), GROUP(S) OR, IF APPLICABLE, INDIVIDUAL(S) CONCERNED:
All Regions of Turkey
D.
BRIEF TEXTUAL DESCRIPTION OF THE NOMINATED ELEMENT:
Karagöz is a form of shadow theatre where human, animal or object figures; known as
“tasvir”s are held in front of a light source and cast their shadows on a camel or ox-hide
screen. The figures are operated using horizontal rods. Karagöz, along with Hacivat, is
the main character of Karagöz play therefore giving his name to the play itself.
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1.
IDENTIFICATION OF THE ELEMENT
1.a.
NAME OF ELEMENT: Karagöz
1.b.
OTHER NAME(S) OF THE ELEMENT, IF ANY:
Hacivat (Karagöz was also named as Hayal-i Zıl or Zıll-i Hayal during 16th century)
1.c.
IDENTIFICATION OF THE COMMUNITY(IES), GROUP(S) OR, IF APPLICABLE, INDIVIDUAL(S)
CONCERNED AND THEIR LOCATION:
All Regions of Turkey
1.d.
GEOGRAPHIC LOCATION AND RANGE OF THE ELEMENT:
While Karagöz is widely known across Turkey, artists are more concentrated in cities
such as Istanbul, Bursa, Ankara, Adana, Gaziantep and Izmir, where the audience
potential is higher. (see 7.a Required Documents/4)
1.e.
DOMAIN(S) REPRESENTED BY THE ELEMENT:
Oral traditions and expressions including language as a vehicle of the intangible cultural
heritage;
Performing arts;
Social practices, rituals and festive events.
2.
DESCRIPTION OF THE ELEMENT (CF. CRITERION R.1):
1. Technical and Artistic Description
Karagöz is a form of shadow theatre where human, animal or object figures; known as
“tasvir”s are held in front of a light source and cast their shadows on a camel or ox-hide
screen using horizontal rods (see 7.a/1.1). Karagöz is a mosaic of various art forms
including poetry, narration, music and dance. All the elements of oral literature
(tekerlemes (tongue-twister), bilmeces (riddles), supernatural stories, kılıklamas,
repartees, exaggerations, puns, and so on) continue throughout the performance. The
rhythm in which both dialogue and action proceed creating a form of expression that even
those who do not know Turkish can appreciate (See 7.a/1.2).
Once the play begins, an introductory figure, called “göstermelik” is placed on the screen
in order to give the audience an idea as to the major themes of the play (See 7.a/1.3).
The “göstermelik” can be either related to the play or not. “Scenery göstermelik” is shown
till the end of play whereas “main göstermelik” removed just before the prologue. When
the play begins, the göstermelik vanishes to the shrill sound of a whistle called “narake”.
The characters in Karagöz are played by means of the tasvirs. The main characters are
common for each play, yet the new characters are added by cutting new tasvirs.
The main characters are Karagöz and Hacivat along with the others as Zenne, Çelebi,
Tiryaki, Beberuhi, Laz, Kayserili, Kastamonulu, Rumelili Arap, Kürt, Arnavut, Frenk/Rum,
Ermeni, Yahudi, Matiz, Külhanbeyi and some other entertaining characters (çengi –
dancer-, köçek –dancer in woman’s garment, kantocu- fin-de-siècle cabaret chanteuse,hokkabaz –illusionist- and cambaz- acrobat) (See 7.a/6.f).
“Hayali” is the person who actually runs the performance. He is the creative artist who
directs and animates the whole proceeding, regulating the entire show on his own. During
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the play, he may make changes in the play depending on the audience atmosphere, such
as updating topics, shortening or prolonging the scenes, adjusting the order of the scenes
or completely taking them out.
Karagöz artist can have one or more assistants, who are also called “hayali” or
“hayalbaz”. “Sandıkkâr” is in charge of the instruments, while “yardak” sings and
“dayrezen” plays the tef (tambourine). Karagöz artists come from a master-apprentice
discipline. Apprenticeship begins with the actual attachment of rods to tasvirs and lasts
until reaching the maturity to run a whole play. “The one who falls behind to be a good
“yardak” cannot be a master Karagöz artist” clearly expresses the importance of masterapprentice relation in Karagöz. The comic elements are emphasized in Karagöz plays
involving exaggerations, puns, and imitations of the regional accents.
2. Social Description
Karagöz still keeps its significance in terms of Turkish socio-economic life. It has been
preserved in various provinces across Turkey, primarily in İstanbul and Bursa. Masterapprentice training has a vital role in safeguarding and developing this art. Nowadays, the
number of the families wishing to train their children in this art has been increasing thanks
to the perception of Karagöz art as a valuable art form both in economic and cultural
sense. Karagöz has been drawing more interest by the help of newly flourishing shadow
theatres, associations established to publicize this art and the performances at schools.
The youth, applied for apprenticeship, have improved their skills as regards to not only
playing Karagöz but also making tasvis by means of the courses and seminars. Karagöz
Museum in Bursa displays the traditional plays and the plays at present adding new
tasvirs and plays according to the present conditions, which helps creating awareness in
the significance of safeguarding this traditional art. Shadow theaters are opened in
Ankara, Gaziantep and Samsun. UNIMA, founded in Ankara and comprised of Karagöz
artists and puppeteers, has an important role in both ensuring mutual support and
sharing cultural and artistic experiences. The studies and implementations carried out by
folk culture departments of universities, research centers and institutes aim to create
social awareness. The media contributes to the development and dissemination of this
art by employing some images of Karagöz in several TV productions as advertisements
and serials.
Karagöz plays are always in a changing process in terms of its scenario, the music and
the tasvirs as well. During the renewing process, the sense of identity is strengthened by
the emphasis on the traditional and the content of the play texts underlining the values of
humanity and nature is highly appreciated by the families, which bears the wish to
safeguard Karagöz art.
In order to increase the contributions of the art regarding cultural identity, Ministry of
Culture and Tourism included 3 Karagöz artists within the scope of Living Human
Treasures in 2008 and decided to encourage those artists to proceed their masterapprentice training.
3.
CONTRIBUTION TO ENSURING VISIBILITY AND AWARENESS AND TO ENCOURAGING DIALOGUE
(CF. CRITERION R.2):
Turkish Shadow Play (Karagöz) is an original example in terms of safeguarding and
transmission of intangible cultural heritage. Karagöz is a collective form of art including
music, dance, theater and handcraft (making tasvirs), transmitted generation to
generation and it is in compliance with the clause (a) oral traditions and expressions,
including language as a vehicle of the intangible cultural heritage under the Article 2, the
definitions title of the Convention. Karagöz comprises the “performing arts” as defined in
the Convention and the tradition is an important means of communication in respect to
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theatre, music and dance as well. Karagöz art is also significant for the “handcrafts
tradition” since it is performed employing tasvir -a kind of flat puppet- made of hide.
Hence, Karagöz art embraces the components defined in 3 articles out of 5 within the
Convention, which will contribute to cultural diversity and cultural creativity on a worldscale. In addition to these, the inscription of the art on the Representative List will create
social and cultural dialogue among the other traditional shadow theatre representatives
worldwide, which will contribute to the improvement of love and tolerance as well as
establishing social dialogue and creating cultural cohesion. Karagöz brings people closer
while entertaining them through farce, music, dance, poetry and performance, hence
contribute to world peace by motivating people towards good deeds, virtue and honesty.
Karagöz art, along with creating intangible cultural heritage, has a crucial role in
preventing generation gaps by the transmission of the art through master-apprentice
relation to other generations.
Karagöz has brought many young people on a shared cultural platform for decades
through being transmitted by master-apprentice relation to next generations and Karagöz
houses established by the associations, foundations and centers where performances
and training courses on tasvir making are presented. The courses aforesaid are very
important for the transmission of the art to other generations.
Karagöz courses and seminars, at times, are realized by Public Education and Training
Centers affiliated by the Ministry of National Education in all provinces of Turkey and the
young artists trained in those centers perform Karagöz plays at schools, particularly in
primary and high schools.
Karagöz was played in coffee houses, gardens, circumcision feasts, houses and open
areas during Ramazan in the past as the means of communication were limited. As for
today especially in Ramazan, Karagöz is being performed at the squares of big shopping
malls apart from performances at theatres, the halls of schools and the respective
associations. The performances presented in those places draw the interest of the people
visiting. Therefore, the interest towards Karagöz increases thanks to the awareness
created through those public performances.
UNIMA-Turkey contributes greatly to the visibility and publicity of Karagöz artists at both
national and international level. The Center has brought the world artists together via
organizing a “Theatre Festival”
Department of Turkish Folk Culture Research and Implementation in Gazi University has
held a symposium titled “Living Karagöz, which made great contributions and created
opportunity for the foreign artists to perform their plays as well as creating interaction
among them. In addition to those, some illustrations of the plays are taught to students
studying on folk culture in the museum within the Center. The folk culture departments
and conservatories operate studies on the similar arts performed across the world.
Karagöz is of great importance in the transmission of intangible cultural heritage to other
generations besides creating a cultural identity. Karagöz as a shadow theatre certainly
contributes to international cooperation and dialogue.
The inscription of Karagöz on the Representative List will greatly contribute to
safeguarding and visibility of a cultural element which includes a particular language,
music and tasvir making and dance all in one. The inscription of the element will create
awareness towards safeguarding as well as creating a shared culture borne out of the
art. On the other hand, the dialogues and relations with the shadow theatres in other
countries will be more effective and easy, which will serve for the aim of UNESCO
regarding cultural dialogue within cultural diversity.
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4.
SAFEGUARDING MEASURES (CF. CRITERION R.3)
4.a.
CURRENT AND RECENT EFFORTS TO SAFEGUARD THE ELEMENT:
1. The Turkish Ministry of Culture and Tourism in cooperation primarily with UNIMATurkey NGOs and local governments (hereby referred to as the Ministry) has been
organizing festivals at national and international levels since 1983. Karagöz has
always been included in the festivals.
2. With the contributions of the Ministry, UNIMA- Turkey has been undertaking
safeguarding and publicity studies and researches.
3. Ankara State Directorate of Traditional Turkish Theater Society was established
affiliated by the Ministry.
4. The Ministry provided financial support in compliance with the Regulation for Private
Theater.
5. Several research studies have been undertaken and data gathered were gathered as
archival documents by the Ministry.
6. The Ministry of Culture and Tourism in cooperation with UNIMA-Turkey NGOs and
local governments has been arranging some courses for the purpose of training new
Karagöz artists and teaching to design and make tasvirs.
7. Turkey is quite rich in tasvir collections. Turkish National Library, Yapı-Kredi Bank,
Topkapı and Yıldız Palace Museums, Feyhaman Duran Museum, İstanbul University,
Gaziantep University and individuals possess collections of Karagöz tasvirs apart
from Information and Documentation Center of Folk Culture.
8. A private Karagöz House has been founded in Bursa.
9. Many scientific meetings and conferences were held on Karagöz (Recently, the
Ministry has organized a symposium titled “Intangible Cultural Heritage: Living
Karagöz” in cooperation with Gazi University.
10. Private sector supports Karagöz plays as well (For instance, Akbank Karagöz and
Puppetry Theater has been realizing performances weekly for 30 years, Ülker has
been providing financial support to Istanbul Puppetry Festival for ten years).
11. Several publications on Karagöz have been issued. (See: Supplementary
Documents/a).
12. Karagöz ephemera and new cultural creations re-interpreting Karagöz have been
produced (such as the movie Hacivat Karagöz Neden Öldürüldü?)
13. Fifteen classical plays of Karagöz have been archived by the UNIMA-Turkey with the
help of financial support of the Ministry
Challenges in Safeguarding Karagöz:
– Social and economic factors are of great importance to preserve Karagöz within the
context of master/apprentice training.
– The interest towards Karagöz has been decreasing due to the tendency to popular
culture products among the youth. Therefore, both Karagöz artists and its audience will
be encouraged.
– Through creating awareness, Karagöz is to be safeguarded in the face of emerging
means of communication and the cultural shifts in entertainment concepts.
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4.b.
SAFEGUARDING MEASURES PROPOSED:
These safeguarding measures were set out at a workshop with the participation of
representatives of related NGOs and bodies. (See photograph 10)
1. The Ministry will carry out researches and enrich the related archives. (All the classics
of the Karagöz theatre will be compiled in a comprehensive documentary.)
2. Within the framework of “Istanbul 2010 European Capital of Culture” events, a
national Karagöz museum will be founded.
3. Karagöz artist positions will be allotted to Ankara State Directorate of Traditional
Turkish Theater Society, established by the Ministry,
4. Traditional Theatre Research Centers/Institutes/Chairs within relevant department will
be established.
5. An international congress on Karagöz will be organized.
6. A cultural corridor project with Karagöz theme will be initiated among the countries
with Karagöz tradition.
7. A Karagöz text contest will be organized.
8. Universities will be encouraged to establish Karagöz student clubs.
9. Administrative authorities will be encouraged to name streets, parks, theaters,
business centers after Karagöz characters and Karagöz artists.
10. Karagöz artists will be provided with technical assistance and financial support. Artists
will be encouraged to participate in festivals both at national and international level.
11. Publications about Karagöz in foreign languages will be translated into Turkish, and
vice versa.
12. Karagöz publications which are not available anymore will be reprinted. Karagöz
tasvir catalogue will be prepared.
13. The communication and interaction between related institutions, establishments and
persons will be strengthened.
14. Student-Karagöz artists meetings will be arranged during the Karagöz sections of folk
culture courses included in the curricula.
15. Courses and workshops will be organized in order to encourage artist training and
tasvir production.
16. Design of Karagöz ex libris’, logos and ephemeras will be encouraged.
17. Media will be encouraged to broadcast Karagöz related materials.
18. Karagöz houses and museums will be disseminated across the country
19. Some courses to train new artists will be opened and the artists will also be
encouraged to train apprentices.
4.c.
COMMITMENTS OF STATES AND OF COMMUNITIES, GROUPS OR INDIVIDUALS CONCERNED:
Ministry of Culture and Tourism, upon adopting the programs Living Human Treasures
within the scope of National Inventory System for Intangible Cultural Heritage in 2008
along with the elements defined in the articles 4a and 4b, nominated three Karagöz
artists as living human treasures. With the help of the program, the artists are
encouraged to train apprentices.
Ministry of Culture and Tourism provides opportunities and facilities for the artists to
perform their arts more easily ( travelling, financial support and opening a theatre)
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Ministry of National Education has decided to include folk culture course in the curricula
upon the adoption of the Convention in 2003. The course, in practice for one hour in a
week since 2005, has a function of publicizing Karagöz art among the students. The
courses absolutely have boosted the number of Karagöz performances at schools.
The university departments dealing with cultural studies are being encouraged and
supported to execute researching, archiving and registration studies. Gazi University
Turkish Folk Culture Research and Implementation Department has been undertaking
studies for the purpose of transmitting the art to next generations, in addition to this, Ege
University Turkish World Research Institute has launched a project in 2008 to identify
repertories of Karagöz artists.
UNIMA-Turkey, with the support of the Ministry of Culture and Tourism has organized a
workshop on recent issues and the future plans regarding the art. UNIMA has delivered
“service award” to three Karagöz artists in the end of 2008. UNIMA has also continued
opening its halls for the performances as well as organizing some courses.
The artists, who are informed about the Convention process, spent efforts to train new
apprentices while attempting to open new courses.
Consequently, all the stakeholders, including the representatives of Ministry of Culture
and Tourism, UNIMA- Turkey and research centers have made a resolution on the
inscription of Karagöz on the Representative List by confirming the commitments of each
party at the workshop held in 2008.
5.
COMMUNITY INVOLVEMENT AND CONSENT (CF. CRITERION R.4)
5.a.
PARTICIPATION OF COMMUNITIES, GROUPS AND INDIVIDUALS:
As an executive body, The Ministry, within its Directorate General of Research and
Training, has established a Division of Intangible Cultural Heritage Management. A
“Commission of Experts”, comprised of representatives from universities, research
centers and institutes, was established under this division so as to direct intangible
cultural heritage studies. When deemed necessary, NGOs, independent experts and
practitioners of intangible cultural heritage are included in the commission as well.
Respective boards will be established with the participation of related local institutions,
universities, NGOs and practitioners under the coordination of the city directorates of the
Ministry, so the Ministerial studies and implementations will be shaped by local
recommendations, in a bottom-up perspective.
During the preparation of this nomination file, a workshop was held with the participation
of Karagöz artists, experts and representatives of related institutions, as a common
platform for all the stakeholders. The safeguarding measures proposed at the workshop
will be jointly executed.
5.b.
FREE, PRIOR AND INFORMED CONSENT:
UNIMA-Turkey is the single organization embracing “all artists” of Karagöz and puppetry.
Therefore, the approval of the NGO has been regarded as competent in respect to the
inscription of the element on the Representative List. In addition to this, the permission
document delivered by Bursa Office of UNIMA-Turkey is attached to the file.
Appended.
5.c.
RESPECT FOR CUSTOMARY PRACTICES GOVERNING ACCESS:
There is no physical or legal hindrance for Karagöz performances. Moreover, Karagöz
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performances are being supported by the Ministry and local governments financially. (The
invitations to state channels, supporting the festivals, designating the artists to promote
Karagöz abroad.)
6.
INCLUSION ON AN INVENTORY (CF. CRITERION R.5):
Karagöz has been included both in Turkish National System for Living Human Treasures
and Turkish National Inventory for Intangible Cultural Heritage. On 12.03.2008, a
commission of experts within the Ministry of Culture and Tourism has been established in
order to operate intangible cultural heritage studies in compliance with the Convention
and the Operational Directives. The commission is comprised of the representatives from
the Ministry, respective departments of the universities, research centers, institutions as
well as the practitioners of intangible cultural heritage and finally the NGO if needed. The
Commission has been formed to monitor both the development of its own structure and
safeguarding process.
The inventory studies have begun by the establishment of Turkish National system for
Living Human Treasures and within this context, on 4th July 2008, the Commission of
Experts evaluating according to the criteria of the Inventory, proposed three Karagöz
artists for nomination (Tacettin DİKER, Metin ÖZLEN and Orhan KURT as the living
human treasure.
Turkey has also launched studies regarding Turkish National Inventory for Intangible
Cultural Heritage under the aegis of the Ministry of Culture and Tourism. First of all, the
assessment criteria have been set out and then Local Boards have been established by
the participation of representatives of the NGO and experts from the research
centers/institutes of the universities. The Local Boards have independently determined
the elements to be included in the inventory and the elements proposed have been
approved by the Commission as the initial form of the inventory on 4th December 2008.
Karagöz, as identified among the selected elements, has been proposed by 5 cities.
Turkish National Inventory for Intangible Cultural Heritage along with the support of the
respective community will ensure the safeguarding and preservation of the element in
accordance with the Convention.
7.
DOCUMENTATION
7.a.
REQUIRED AND SUPPLEMENTARY DOCUMENTATION:
Required Documents
1. Photographs (10 items)
2. Video (10-minute)
3. Audio records (2 CDs)
– First CD: Karagöz Dialogues
– Second CD: Karagöz Music
4. Map (1 item)
5. Books (3 items)
– And, M. (2005) Shadow Theatre, İstanbul:DOST Yayınları
– Kudret, C. (2004) Karagöz, III Cilt, İstanbul: YKY
– (2006) Somut Olmayan Kültürel Miras: Yaşayan Karagöz Sempozyum Bildirileri, Gazi
Üniversitesi Yayını, Ankara
Supplementary Documents
a) Bibliography
b) List of Karagöz Artists
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c) List of Karagöz Plays
d) Art works and the list of Karagöz ephemera, created by inspiration of Karagöz
e) Videos (60-minute)
f) Photographs (20 items)
g) Characters in Karagöz
7.b.
CESSION OF RIGHTS:
Appended.
7.c.
LIST OF ADDITIONAL RESOURCES:
1.AN, Nejat, Karagöz. Ankara 1959 Emek Basım-Yayınevi. 15 s. (Güvercin Kitap No:51)
2.AND, Metin, Geleneksel Türk Tiyatrosu Kukla, Orta Oyunu, Karagöz, Bilgi Yayınevi,
Ankara,1969.
3.Dünya’da ve Bizde Gölge Oyunu, Türkiye İş Bankası Kültür Yayınları, Ankara, 1977.
4.Karagöz, Turkish Shadow Theatre (Türk Gölge Tiyatrosu), A Dost Publication, Ankara,
1977
5.Osmanlı Tasvir Sanatları I. Minyatür, İş Bankası, İstanbul, 2002.
6.BAKŞAN, Ziya, M, Çocuklara Karagöz, Milliyet Yayınları, İstanbul,1976.
7.BALTACIOĞLU, İsmail Hakkı, Karagöz Tekniği ve Estetiği, Sarıyer Halkevi Neşriyatı,
İstanbul, 1942.
8.BEKTAŞ, Ekrem, Yeni Karagöz I ve II Erkam Yayınları, İstanbul, 2002.
9.BORÇAKLI, Ahmet; SOYER, Serpil; KOÇER Gülten, Milli Kütüphane Karagöz
Kataloğu, Milli Kütüphane Genel Müdürlüğü Müzik ve Güzel Sanatlar Şubesi
Yayınları, Ankara, 1974.
10.CAHİT, Burhan, Karagöz’ün Fıkraları, Hacivat Matbaası, İstanbul, 1926.
11.ÇAKMAKLAR, Feyza; AYDIN, Handan, Karagöz’de Musiki İncelemeleri, Çanakkale,
2003.
12.DUYURAN, Dürrüşehvar, Topkapı Sarayı’ndaki Tasvirleriyle Karagöz, Arkeoloji ve
Sanat Yay. İstanbul, 2000.
13.GÖKTAŞ, Uğur, Karagöz Terimleri Sözlüğü, Anadolu Sanat Yayınları, İstanbul, 1986.
14.Dünkü Karagöz, Akademi Kitapevi Yayınları, İzmir, 1992.
15.Gölgenin Renkleri, Halk Kültürü Bilgi ve Belge Merkezi Karagöz Tasvirleri
Koleksiyonu Katalogu. Ed: N. Z. Özçörekçi Göl, Kültür ve Turizm Bakanlığı
Yayınları:3170, Ankara, 2008
16.GÜLEN, Hidayet, Karagöz Tarihçesi Gelişimi, Karagöz Figürlerinin Yapılış ve
Oynatılışı, Türkçe-İngilizce.
17.İVGİN, Hayrettin, Özlen, Metin, Eski ve Yeni Karagöz Oyun Metinleri, HAGEM
Yayınları, Ankara, 1996.
18.Karagöz ve Kukla Sanatımız, Anadolu Kültürünü Koruma ve Araştırma Vakfı
Milletlerarası Kukla ve Gölge Oyunu Birliği Yayınları, Ankara, 1996.
19.JACOB, Georg, Karagöz-Komödien, I-III, Berlin, 1899.
20.Geschichte des Schattenhearters im Morgen und Abendland, Hannover, 1925.
21.Karagöz (Oyun Metinleri), Kültür ve Turizm Bakanlığı Milli Folklor Araştırma Dairesi
RL09 - No. 00180 - page 9
Yayınları, Ankara, 1987.
22.KUDRET, Cevdet, Karagöz, Cilt: 1, Bilgi Yayınevi, Ankara, 1968.
23.Karagöz, Cilt: 2, Bilgi Yayınevi, Ankara, 1969.
24.Karagöz, Cilt: 3, Bilgi Yayınevi, Ankara, 1970.
25.KUNOS, Ignaz, Harom Karagöz-jatek, Budapeşte, 1886.
26.MORKAYA, Burhan, Cahid, Karagöz’ün Fıkraları, İstanbul, 1926.
27.MUTLU, Mustafa, Karagöz Sanatı ve Sanatçıları, Kültür Bakanlığı Yayınları, Ankara,
2002.
28.NESİN, Aziz; ve diğerleri; Günümüzün Diline ve Hayatına Uygun Beş Karagöz
Oyunu, Milliyet Kültür Grubu Yayınları, İstanbul 1968.
29.OĞUZ, Reşat, Karagöz’de Halk Türküleri ve Hikayeleri, Kayseri 1946.
30.Karagözname: Antoloji, Türkiye İş Bankası Kültür Yayınları, İstanbul, 1977.
31.Çocuklara Karagöz Hikayeleri, MEB Yayınları, İstanbul, 1988.
32.Karagöz Perde Gazelleri, Kültür Bakanlığı Yayınları, Ankara, 1996.
33.Günümüzde Karagöz-Hacivat Söyleşmeleri, Kitabevi Yayınları, İstanbul, 2002.
34.Karagöz Oyunları, Kitabevi Yayınları, Tarih Yok.
35.ÖZBAY, Ercümend, Melih, Gene, Gine, Yine Karagöz: Geleneksel ve Görsel
Çeşitlemeler, Çaba Dağıtım, İstanbul, Tarih Yok.
36.RITTER, Hellmut, Karagös. Turkische Schattenspiele, Cilt:1, Orient-Buchhandlung
Heinz Lafaire, Hannover,1924.
37.Karagös. Turkische Schattenspiele, Cilt:2, Leibzig-İstanbul, 1941.
38.Karagös. Turkische Schattenspiele, Cilt:3, Deutsche Morgenlandische Gesellschaft
Wiesbaden, 1953.
39.SEVİLEN, Muhittin (Hayali Küçük Ali), Karagöz, MEB Yayınları, İstanbul, 1969.
40.SEVİN, Nurettin, Türk Gölge Oyunu, Milli Eğitim Bakanlığı Yayınları, İstanbul, 1968.
41.SİYAVUŞGİL, Sabri, Esat, İstanbul’da Karagöz ve Karagöz’de İstanbul, İstanbulEminönü Halkevi Dil-Tarih ve Edebiyat Şubesi Neşriyatı, İstanbul, 1938.
42.Karagöz. Psiko-Sosyolojik Bir Deneme, Maarif Vekilliği Neşriyatı, İstanbul, 1941.
43.Karagöz. Its History Its Characters Its Mystical and Satirical Spirit, İstanbul, 1961.
44.Karagöz. Son Historie Ses Personages Son Esprit Mystique et Satirique, İstanbul,
1951.
45.SÖNMEZ, Sevengül, Karagöz Kitabı, Kitabevi Yayınları, İstanbul, 2000.
46.ŞAPOLYO, Enver, Behnan, Karagöz’ün Tarihi, Türkiye Yayınevi-Sahne Yayını,
İstanbul, 1947’den önce.
47.Karagöz Tekniği, Türkiye Yayınevi-Sahne Yayını, İstanbul, 1947.
48.TIETZE, Andreas, The Turkish Shadow Theatre and The Puppet Collection of L.A.
Mayer Memorial Foundation, Berlin, 1971.
49.TİLGEN, Nurullah, Karagöz. Tarihçe-Fasıllar-Fıkralar, Ahmet Halit Yaşaroğlu LT Ş.,
İstanbul, 1953.
50.ÜNGÖR, Etem, Ruhi, Karagöz Musikisi, Çev: Orhan Şaik Gökyayü, Eminönü Halkevi
Dil-Tarih ve Edebiyat Şubesi Neşriyatı İstanbul, 1938.
RL09 - No. 00180 - page 10
51.YAKOB, Georg, Türklerde Karagöz, Çev: Orhan Şaik Gökyayü, Eminönü Halkevi DilTarih ve Edebiyat Şubesi Neşriyatı İstanbul, 1938.
Note: for the detailed bibliography See: Supplementary Documents (a).
8.
CONTACT INFORMATION
8.a.
SUBMITTING STATE PARTY: Turkey
8.b.
CONTACT PERSON FOR CORRESPONDENCE:
Solmaz KARABAŞA
Kültür ve Turizm Bakanlığı, Araştırma ve Eğitim Genel Müdürlüğü,
İ. İnönü Bulvarı, No:5 K:10 Emek/ANKARA
Tel: +90 312 212 48 56
E-Mail: [email protected], [email protected]
8.c.
COMPETENT BODY INVOLVED:
Kültür ve Turizm Bakanlığı
Araştırma ve Eğitim Genel Müdürlüğü
İnönü Bulvarı No:5 kat: 9-10 06100 Emek / Ankara- TÜRKİYE
e-posta: [email protected], [email protected]
Web: www.aregem.kulturturizm.gov.tr
8.d.
CONCERNED COMMUNITY ORGANIZATION(S) OR REPRESENTATIVE(S):
I. Karagöz artists and theatres
1.Ahmet AKSOY (MERSİN)
E-Mail: [email protected]
2.Ahmet KARAKMAN
Adress: Çakırağa Mah. Katip Müslihittin Sok. Dilek Apy. No: 19/4, Fatih/ İSTANBUL
Tel : +90 212 632 96 01 Fax +90 212 530 68 83 GSM: + 90 532 340 86 03
3.Ali MERİÇ
Adress: Antalya Devlet Tiyatrosu, ANTALYA
4.Ali Nihat YAVŞAN (Pembe Kurbağa Tiyatrosu)
Tel: +90 312 418 02 98 Gsm: +90 532 556 38 89
E-Mail: alinihat @pembekurbaga.com
5.Aliş MÜBAREK
Adress: 9 Eylül Sok. No. 42/9, Kurtuluş/ANKARA
Tel: +90 312 448 05 54 GSM No: 0542 236 91 98
6.Alpay EKLER (Tiyatro Merdiven)
Adress: Rumi Mehmet Paşa Mh. Şemsipaşa Bostan Sk. Deniz Apt. B Blok. No:33/9
Üsküdar/İSTANBUL
Tel : +90 542 251 35 91, E-Mail : [email protected]
7.Ayhan LEYLEK
Adress: 9002/11.Sok. No:4, D.: 10, 35370 Yeşilyurt/İZMİR
Tel: + 90 232 227 40 66
8.Cemal DÖNMEZ
Adress: Gazi Mah. Seyrani Sok. No:38, SAMSUN
RL09 - No. 00180 - page 11
GSM: +90 537 384 56 44
E-Mail: [email protected]
9.Cengiz ÖZEK
Adress: Muhtar Mahallesi, Taksim Akarcası Sk. No:4 Taksim/İSTANBUL
Telefon: +90 212 243 47 04
E-Mail : [email protected]
10.Emin ŞENYER (İSTANBUL)
Web Sitesi : www.karagoz.net E-Mail : [email protected]
Tel : +90 532 493 43 51
11.Halit EKER
Adress: Başpınar Mah. 167.Sok. No: 3, Siteler, Altındağ/ANKARA
Tel: +90 312 310 77 11
12.Haluk YÜCE (Tiyatro Tempo)
Adress: İlkyerleşim Mah. 9. Cad. 333. Sk. Ata Sitesi No: 28 Batıkent/ANKARA
Tel : +90 312 257 28 45 Faks : +90 312 257 31 29 Mobile : +90 532 492 98 11
E-Mail : [email protected] Web Sitesi: www.tiyatrotempo.com
13.Hasan Hüseyin KARABAĞ (İstanbul Katibim Karagöz Evi)
Adress: Akbıyık Cad. No.47 Sultanahmet- İSTANBUL
Web Sitesi: www.karagozevi.com
Tel : +90 216 343 47 25 Gsm : +90 536 218 24 11
14.Korhan TUÇDAN
Adress: Gülistan Sok. No: 56/4 Abidinpaşa/ANKARA
Tel: + 90 312 362 94 28 - 310 77 11
E-Mail: [email protected]
15.M. Hazım KISAKÜREK (Geleneksel Gösteri Sanatları Topluluğu)
Adress: Sümer Sok. 38. Sok. No: 36 Seyhan/ADANA
Tel : +90 322 224 53 75 Gsm : +90 532 552 09 91
E-Mail : [email protected]
16.M.Ufuk DURMAZ
Adress: Çırpan mh. San sk. 19/5 Osmangazi/ BURSA
Tel: + 90 224 252 56 10
17.Mehmet BAYCAN
Adress: Ege Kent 8839. Sok. No: 3 Kent Apt. D: 8 Karşıyaka/İZMİR
Tel: +90 542 746 67 46
18.Metin ÖZLEN
Adress: Marmara Cad. No: 22/6 D: 15 Erenköy 81090 İSTANBUL
Tel: +90 216 372 54 03 E-Mail: metinozlen @gmail.com
19.Mustafa MUTLU
Adress: Kavacık Subayevleri Vadi Sk. No: 10/7 Keçiören/ANKARA
Tel : +90 312 517 29 44 Gsm :+90 535 340 94 66
E-Mail: [email protected]
20.Nevzat ÇİFTÇİ
Adress: Piremir mh. Yaşar sk. No:9/3 16340/ BURSA
Tel: + 90 224 223 56 37
21.Nihat MÜRŞİTPINAR
Adress: Kardelen Mah. Ortadoğulular Sitesi, No: 12, Batıkent, 06370 ANKARA
Tel: + 90 312 341 46 01
22.O. Esat TAŞATMANLAR
RL09 - No. 00180 - page 12
Adress: Altıparmak cad. 84/5 Osmagazi/ BURSA
Tel: +90 536 549 42 08
23.Orhan KURT
Adress: Mete Cd. Simitaş Blokları No: 30/A D; 40 Merter /İSTANBUL
Tel : +90 212 556 11 13
24.Osman UBUZ
Adress: Küçükparmakkapı Sok. No: 44/6 Beyoğlu/İSTANBUL
25.Ramiz BALAKİN
Adress: İzzettin Çalışlar Cad. No: 12, B Blok, D.6, Bahçelievler/İSTANBUL
E-mail: [email protected], [email protected]
26.Selim GÜRATA
Adress: Memurevleri Mah. Tonguç Cad. No: 21/3 ANTALYA
27.Serkan ÖZTÜRK
Adress: Ziyabey Cad. 13. Sok.No. 22 / 2, Balgat/ANKARA
GSM: + 90 536 253 74 19
E-Mail: [email protected]
28.Şinasi ÇELİKKOL
Adress: Uzun Çarşı Borsa Sk. Borsa İşhanı No: 1/21 Osmangazi/BURSA
Tel : + 90 224 221 87 27, E-Mail: [email protected]
Web Sitesi : www.unimabursa.org
29.Tacettin DİKER
Adress: Sarayardı Cad. Şem-i Bey Sk. No: 33/4 Acıbadem Kadıköy/İSTANBUL
E-Mail : [email protected]
30.Tayfun ÖZEREN
Adress: Mehmet Akif Ersoy mh. Bilgiç sk. Bilgiç çıkmazı No:1/3 Yıldırım/ BURSA
Tel: +90 536 396 12 55
31.Tevfik DİNÇ
Adress: Aydınlıkevler Mah. 2005 Sok. İşmen Apt. No: 7 /14, 33140, MERSİN
GSM: +90 535 963 60 45
E-Mail: [email protected] Web Sitesi hayalcinas.com
32.Ünver ORAL
Adress: Ortaçeşme Bağüstü Sok. No: 7 Beykoz 81650 İSTANBUL
Tel : +90 216 323 15 49
Note: For the comprehensive list of Karagöz artists See: Supplementary Documents 6/b)
II. Other karagöz theatres:
Akbank Karagöz ve Kukla Tiyatrosu
İstiklal Caddesi. Zambak Sok. No: 1 34435 Beyoğlu/ İstanbul – TÜRKİYE
e-posta: [email protected].
Tel: 0.212 252 35 00 - 252 35 01 Fax: 0.212 245 12 28
Ankara Büyükşehir Belediyesi Başkent Tiyatrosu
Gençlik Parkı Opera/ Ankara -TÜRKİYE
III. Relevant NGOs:
1. Uluslararası Kukla ve Gölge Oyunları Birliği (UNIMA) Türkiye Milli Merkezi
Başkan : Mevlüt ÖZHAN
Adress : Konur Sokak No:66/12 06640 Bakanlıklar/Ankara -TÜRKİYE
E-posta: [email protected]
Tel-Faks: 0.312 419 13 36
RL09 - No. 00180 - page 13
2. UNIMA Bursa Şubesi Başkan : Şinası ŞELİKKOL
Adress : Uzun Çarşı Borsa Sk. Borsa İşhanı No :1/21 Osmangazi/Bursa
Tel : + 90 224 221 87 27, E-Mail : [email protected]
Web Sitesi : www.unimabursa.org
IV. Research centers:
Gazi Üniversitesi
Türk Halkbilimi Araştırma ve Uygulama Merkezi
Prof. Dr. M. Öcal OĞUZ
e-posta: [email protected]
Gazi Üniversitesi Rektörlük Yerleşkesi Merkez
Kütüphane 4. Kat Beşevler / Ankara
Tel: 0312 202 29 12
V. Museums possessing karagöz collection:
1.
2.
3.
4.
5.
6.
9.
Yapı Kredi Vedat Nedim Tör Müzesi
Topkapı Sarayı Müzesi,
Yıldız Sarayı Müzesi
Gazi Üniversitesi Somut Olmayan Kültürel Miras Müzesi
Feyhaman Duran Müzesi
Gaziantep Üniversitesi
SIGNATURE ON BEHALF OF THE STATE PARTY:
<signed>
RL09 - No. 00180 - page 14