Showing posts with label #heritage. Show all posts
Showing posts with label #heritage. Show all posts

Thursday, November 6, 2014

Ankara - the anchor of Turkey


Surfing the Turkish Tourism website, they proudly inform you that Turkey is home of The Blue Mosque, home of the colour Turquoise, home of the historic site Cappadocia, home of Troy, home of the Silk Road, home of the Golden Horn and home of ancient Gods. But there is no flash pitch about the capital, Ankara!

Ankara is clean, hilly and expansive. The word Ankara means anchor, a rather fitting name if ever there was for a capital.

I was based in Ankara for six days for the FIBA Women’s Basketball World Championship; I was there to support the French team. The venue in the capital was the Architectural award winning Ankara Arena which hosts a variety of events; the first event that was held in it after it was built in 2010 was the FIBA World Championship, so no stranger to major basketball events. 16 countries were there to compete for the cup with the games being played both in Istanbul and Ankara. Ankara was host to Brazil, Canada, Czech Republic, France, Japan, Mozambique, Spain, and host team Turkey.


I have been to and participated in big sporting events in South Africa including being at the World Cup Soccer at the iconic Moses Mabhida, but all of those matches pale into significance witnessing my first international basketball game, the entire experience was tingling. The last game on the opening day was a cracker between Olympic Silver Medallists’ France and the home team. Fans in their droves swarmed the stadium.

It took a while to collect my tickets and find the correct entrance. By the time I had presented my ticket to the FIBA usher, I had walked through a metal detector, had my bag searched by police then frisked by another police officer, before the final police check confirming the legitimacy of my ticket. Finally offering it to an usher who warmly welcomed me.


Having purchased my tickets online months prior, I by some stroke of luck had landed myself in the VIP area. The online booking system had an early bird ticket sale, so I paid for one ticket and got the remainder of the tournament basically for free. It also so happened that all the travelling French fans were seated in the VIP area.

The atmosphere in the venue was electric. Turkish flags floated aloft as the bearer’s sang a catchy tune that obviously was the anthem for the Turkish team. An enclosed space with well over 20,000 people all chanting, singing and cheering was passionate. Needless to say France went down but only by two points.


The remainder of the tournament, the Les Bleus sadly lacked the spark they had in London finishing second in their group, spiralling out in the quarters in Istanbul with a defeat against ace team USA. Then they lost to Canada in the class 5 – 8 games, after beating them in the group games. In the final game of France’s tournament they did manage to get some respect back with a win over Serbia and finishing in seventh.

The Les Bleus fans welcomed me into their small clan of 20 or so. Each game I had my face painted as an honorary frog. I was so proud of neighbours Mozambique, how they held their own on the court.


As far as sightseeing goes, Ankara is a massive, vibrant, cultural city but only really offers a handful of tourist attractions. Stumbling upon the Tourist Information Centre at the main train station across the way from the arena, the fabulously helpful tourism officer presented an impressive colour brochure, in English, of all the sights and stops in Ankara. All could be done on a walking tour over two days.

I found the public transport system difficult to figure out and eventually gave up. From the hotel where I was staying, the arena was a 20minute or 30TYL ride away and the yellow cabs were an attraction in itself. I am sure that the drivers were awarded for the most number of fares they could take on a day, not how scenic a route they took you on. Every ride felt like a race between A and B and on arrival your hasty exit was appreciated. It was a cheap and fast way to get around.


My first day out exploring, I got deposited at my landmark of the arena and wandered along the wide main road towards the Opera House, the Ethnography Museum and the State Art and Sculpture Museum. The Opera House was all closed up and seemed to be out of season. Across the road was a glee-filled Fun Fair snuggled up right against the main road threatening to toss out unsuspecting riders from the brightly coloured rides. Further up the road I came across the grand State Art and Sculpture Museum with the Ethnography Museum alongside. In the garden proudly sat a number of statues of famous Turk artists and sculptors as well as what looked like fragments of Roman ruins that were being slowly restored, were littered around the garden and had become a playground for the local feral cats.

With time on my side I opted to go off the beaten track, I turned off the main road and made my way deep into Ulus, the historic centre containing a number of museums, early republican buildings and the ancient Ankara Castle. Ulus is millennia old and I enjoyed getting lost taking small cobbled lanes, discovering roads and roads of shops spilling out onto the road. The gradients of the roads were quite a hike but the locals had no difficulty trekking up, usually lugging a hefty load.


On the only blue skied day I had, I ventured to the Antikabir. Translated to English it means a memorial tomb and is the mausoleum of Mustafa Kemal Ataturk, the leader of the Turkish War of Independence and the founder and first President of the Republic of Turkey. The site where the Antikabir was built is the most central in Ankara and can be seen from almost all areas in the city.

The ceremonial courtyard was alive with countless of wiggly worms with hundreds of pre-schoolers out on a day-excursion learning about the history of their country. With each group they had an assigned guide donning a dark tailored suit hugging their ripped frames, they more resembled bodyguards but each and every one of those big burly blokes appeared to be gentle giants. As I was about to depart, I got to see the pomp and ceremony of the Changing of the Guards.


A short yellow cab drive away, I visited the Kocatepe Mosque. It gets a mention in all research you do when you Google Ankara. I spent some quiet time walking around the exterior as the mosque was closed to visitors. It took close on 20 years to build and is the largest mosque in the capital. From there I jumped in another zippy cab and landed up at the Ankara Castle.

The outer citadel follows the ledges of the hill but inside the castle walls you find the real old Ankara with a number of locals quietly getting on with daily chores. Beyond the tourist track, the houses were all old, crumbling, unloved and dilapidated.  The views from up on top of the castle walls are exquisite overlooking all of Ankara. I parted with 12TYL for a freshly squeezed Pomegranate juice, the most expensive food and drink I had spent but the name of the cafĂ© was the only reason I stopped. It was one word, And.

Would I recommend a visit, about as enthusiastically as I would encourage someone spending their hard earned holiday going to Johannesburg, but for a two day visit as you head to Cappadocia – perfect! 

Tuesday, September 23, 2014

The Heritage Hydra

My big sister's monthly column in The Mercury - a morning newspaper here in Durban! So proud of her.... 

Illa Thompson
Column 74
September 2014

It is national Heritage Day on Wednesday 24 - a day which Wiki (our universal oracle of all information) tells us that “South Africans across the spectrum are encouraged to celebrate their culture and the diversity of their beliefs and traditions, in the wider context of a nation that belongs to all its people.”

20 years into our democracy, this noble concept has become something of a multi-layered mine-field of political and philosophical complexity, because Heritage is not a one-size-fits all kind of notion: it is a Hydra of Greek mythological proportions.

By definition, Heritage is “the full range of our inherited traditions, monuments, objects, and culture.  It is the range of our contemporary activities, and the meanings, and behaviours that we draw from them”. But in South Africa, this gets complicated – because we have a disjointed, multifaceted sense of “our”.
  
An interesting example of this is Cape Town theatre-maker, Brett Bailey’s “Exhibit B” which opens this week at the Barbican Centre in London, after having caused a fuss at the Edinburgh Arts Festival last month.  Bailey is a phenomenal, prolific, fearless and evolved playwright, designer, director and installation-artist whose visually-articulate work often interrogates the dynamics of the post-colonial world and considers how history prescribes the present.  

His “Exhibit B” is informed by and is a parody of the grotesque “Human Zoos” of Victorian Europe. Billed by Le Soir in Brussels as “terrible and magnificent,” the installation is part performance and part museum exhibition comprising 13 tableaux designed as “curiosity cabinets” featuring black actors with colonial-era artefacts, and, more disturbingly, contemporary settings. The intention is for these living sculptures to shatter the viewer’s complacency and to offer a harrowing visual reminder of the appalling history of global colonialism, slavery and racial hatred.

Activists in London, ahead of the opening at the Barbarian, have been vehemently protesting and calling for the exhibition to be banned. A petition has been circulating which so far has 18 000 signatures.

UK activist, Sara Myers criticised the work “for the lack of respect it gave to the ancestral children of the enslaved and dehumanised.”

In response, Bailey is quoted in an on-line media interview: “In Exhibit B, I intended to make people aware of systems of racism, objectification and dehumanisation that have legitimised brutal policies of plunder, control, exclusion and extermination; systems that are still in place today. I’m sorry that because of sensationalistic media reports and social media hysteria, many have been alienated from the work without having seen it,”

In a media statement, he explains: “I stand for a global society that is rich in a plurality of voices. I stand against any action that calls for the censoring of creative work or the silencing of divergent views, except those where hatred is the intention”.

“The intention of Exhibit B is never hatred, never fear, never prejudice. It is love, respect and outrage.”

“Do any of us really want to live in a society in which expression is suppressed, banned, silenced, denied a platform? If my work is shut down today, whose will be closed down tomorrow?”

Having so recently experienced a similar situation around the furore of displaying Brett Murray’s The Spear at the Goodman Gallery, we watch with interest as Exhibit B is scheduled to open at the Barbican tomorrow (23 September) – appropriately a day ahead of Heritage Day in South Africa.

As a counterpoint to the animated international debate around Exhibit B, my focus shifts to one of the many heritage events on our local September calendar - the annual Umkhosi woMhlanga, or Reed Dance. This is a fascinating study of tradition meeting tourism; of history being revived and affirmed in contemporary culture; of politics meeting custom.
An age-old ritual was dormant for generations and revitalised by King Goodwill Zwelithini in 1984. This year in excess of 30 000 Zulu maidens celebrated 30 years of the ceremony’s revived existence by processing to the royal palace, bare-breasted, carrying symbolic long reeds. I suspect nothing quite like this exists event anywhere else in the world.
In the small print of the extensive media coverage which the Reed Dance received last week, was the announcement that R300 million would be invested to build a village in eNyokeni to offer “safe accommodation for the girls overnight.”
The national department of Arts and Culture who are funding this project announced in May: "We are looking at these cultural pressings not only for a reed dance but also to invest into the local economy, because people will be attracted towards eNyokeni," says Department spokesperson Mogomotsi Magodini. He adds "There will be better infrastructure; there will be better tourism attraction and so forth."
This is when one’s response to Heritage gets complicated: R300 million of Arts and Culture funding to be invested into a cultural village to support the Reed Dance in eNyokeni; and R300 million of city money on the Umkhumbane Freedom Park cultural centre and tomb for Queen Thomozile Jezangani KaNdwandwe Zulu,  the mother of King Goodwill Zwelithini, in Cato Manor. That’s R600 million of civic funds being invested into two heritage sites. 
For us to meaningfully journey towards an authentic national heritage which truly celebrates “our” inherited traditions; more of our shared legacies and customs should find their way into the consciousness, plans and budgets of the City and Department of Arts and Culture.

Celebrate Durban – traditionally the city’s far reaching annual September heritage season allowing 60 or so of the city’s emerging and micro-eventors to create their own community heritage-themed events and projects, didn’t happen again this year. No formal reason was given: lack of funding perhaps, or possibly insufficient administrative infrastructure.  I for one really miss this joyous, far-reaching, inclusive festival, and find that those heritage events which did take place this year as stand-alone projects, lacked identity and cohesion.

To many, Wednesday’s public holiday is a day to invite friends and neighbours for a braai.
A day full of stormy complexities about legacy, birthright, tradition and custom, has become relegated to a day of lighting a fire and cooking meat.

How incongruous. How funny. How tragic.