ara guler MATBAAYA 6.12.2010
Transkript
ara guler MATBAAYA 6.12.2010
Usul Gere¤i About method Bu kitap, foto muhabiri Ara Güler’in, 21-26 May›s 1952 tarihlerinde, Ermenice Jamanak gazetesinde yay›mlanan “Kumkapui hay tz›gnorsnerun hed’ (Kumkap› Ermeni Bal›kç›lar›yla Birlikte) bafll›kl› yaz› dizisinin üç dilli olarak yeniden bas›m›d›r. This book is a reprint in three languages of photojournalist Ara Guler’s newspaper serial entitled “Armenian Fishermen at Kumkapi”. The series appeared from May 21 to 26, 1952, in Armenian Jamanak newspaper. Gazetede alt› gün tefrika edilen bu yaz› dizisinde on iki foto¤raf kullan›lm›flt›. Bu kitapta ise, daha bütünlüklü bir tan›kl›¤› yans›tabilmek amac›yla, gazetede bas›lanlar›n yan› s›ra, Güler’in arflivinden al›nan toplam 56 foto¤rafa yer verildi. Bu görsel malzeme, Kumkap›’n›n ve ‹stanbul’un çehresinin son elli y›lda büyük bir h›zla de¤iflmesi nedeniyle art›k son bulmufl bir yaflant›y› bugüne tafl›yor. Twelve photos were used in this newspaper serial over six days. Here in this book, in addition to those twelve pictures, 56 photos provided from Guler’s archives were also included for the purpose of reflecting the testament in its entirety. The visual materials reveal the lifestyle that has so recently disappeared due to the huge and rapid changes to the features of Istanbul and Kumkapi, and transport these traces of the past fifty years to the present time. Türkçe ve ‹ngilizce çeviriler do¤rudan Ermenice metinden yap›ld›. Özgün metinde geçen Türkçe kelimeler, çeviride italik dizildi. Yay›nc›n›n notu Turkish and English texts have been translated from the Armenian text. Turkish words in the original text have been indicated in italics in the translated versions. Publisher’s note ûÒÅÔÅÒÅù„ÅÔÅ´ ù·£ßç Ä©Î ÖïÒ˘è ó·ıÎÅ´ùÅÒ„ÅùÅ´ óÒÅÖÒ·£ ÄÒÅ úïıóçÒï 21-26 ¶Å©ïÎ 1952 ë·ıÅùÅ´´âÒ·ı ßïÁâı íÅßÅ´Åù ˚ÒÅëâÒëï´ ßçÁ üÒÅÔÅÒÅù·ıÅõ ÆÑ·ıßÖÅÉ·ıï üÅ© °ù´·ÒδâÒ·ı´ üâÔØ ô·ÒÅÖÒâÅó ©˚á·ıÅõÅ≠ÅÒï´ ÌâÒÅüÒÅÔÅÒÅù·ıß´ ç âÒ⢠óâã·ı´âÒ·Ì: íÅßÅ´Åùï ÌâÛ˚ÒâÅ© ©˚á·ıÅõÅ≠ÅÒï´ ßçÁ ˚ÖÔÅÖ·Òõ·ıÅõ çï´ ÔÅδâÒù·ı ó·ıÎÅ´ùÅÒ´âÒ. ïÎù Å©Î ÖïÒ˘ï´ ßçÁ, Åıâóï ÅßÉ·£ÁÅùÅ´ ÌùÅ©·ıëïı´ ßè ÔÅó·ı ´ÂÅÔÅù·Ì, ëâÒëï´ ßçÁ üÒÅÔÅÒÅù·ıÅõ ó·ıÎÅ´ùÅÒ´âÒ·ı ù·£˘ï´, Ô⣠ԷıÅõ â´˘ ´Åâı úïıóçÒï ÅÒôïıç´ 56 ó·ıÎÅ´ùÅÒ´âÒ·ı: Ñ·ıßÖÅÉ·ıï âı îÎëŴ·ıóï áïßÅÖïõï´ ÌâÒÁï´ ©ïηı´ ÔÅÒï´âÒ·ı ÅÒÅÖè´ëÅÛ ùâÒÂÅÒŴŘ·ô·ıß·Ì ÌâÒÁ ÖÔÅõ ùâ´ÛÅ£ ßè ´âÒùÅ© ùè ˜·ôÅáÒ·ıï ≠´·Òüïı Å©Î Ôâη£ÅùÅ´ ÌÅıâÒÅ´ïıëï´: êÒ˘âÒç´ âı Å´ÖóâÒç´ ëÅÒÖßÅ´·ıëïı´´âÒè ùÅÔÅÒ·ıÅõ â´ ·ı££Åùï˚Òç´ üÅ©âÒç´ É´ÅÖÒç´: òßÉÅÖÒ·ıëâÅ´ ÌâÒÅÉâÒâÅó чٶÑÄLJÙî ûÄ® †ú™‡Í™àé ARMENIAN FISHERMEN AT KUMKAPI KUMKAPI ERMEN‹ BALIKÇILARI 1952 A r a s Y a y › n c › l › k ‹stiklal Caddesi, H›divyal Palas 231/Z 34430 Tünel, Beyo¤lu-‹stanbul Tel: (0212) 252 65 18 - 243 06 02 Fax: (0212) 252 65 19 info@arasyayincilik.com www.arasyayincilik.com –––––––––––––––––––– ARAS - ÄÄÍ 119 –––––––––––––––––––– Kumkap› Ermeni Bal›kç›lar› Armenian Fishermen at Kumkap› Ñ·ıßÖÅÉ·ıï üÅ© °ù´·ÒδâÒè ARA GÜLER / ÄÄ® úîÙñå Türkçe çeviri / Turkish translation / êÒ˘âÒç´ï ëÅÒÖßÅ´·ıëïı´ Payline Tomasyan / ˆÅ©óï´ç ê·ÌßÅÎâÅ´ ‹ngilizce çeviri / English translation / Ä´ÖóâÒç´ï ëÅÒÖßÅ´·ıëïı´ Sonia Derman Harlan / Í˚´ïÅ ÓçÒßÅ´ ûÅÒóÅ´ ‹ngilizce redaksiyon / English proofreading / Ä´ÖóâÒç´ï ÎÒÉÅÖÒ·ıëïı´ Carol LaMotte / ¯çÒèó ñŶ˚ë Kapak Tasar›m› / Cover Design / ú·£˘ï ÂÅÔÒÅÎÔ·ıëïı´ Aret G›c›r / ÄÒçÔ úè•èÒ Grafik Uygulama / Graphic Assistant / åÁÅáÒ·ıëïı´ Ararat fiekeryan / ÄÒÅÒÅÔ ¨ç˘çÒâÅ´ © 2010, Aras Yay›nc›l›k / ÄÒÅÎ ûÒÅÔÅÒÅù„·ıëïı´ © 2010, Ara Güler / ÄÒÅ© úïıóçÒ ISBN 978-605-5753-19-1 Bask› / Printing / ÓÂÅÖÒ·ıëïı´ Mas Matbaac›l›k So¤uksu Caddesi no 3 Hamidiye - K⤛thane ‹stanbul Tel: (0212) 294 10 00 ‹stanbul / îÎëŴ·ıó Aral›k/December/ÜâùÔâßÉâÒ 2010 ARA GÜLER ÄÄ® úîÙñå чٶÑÄLJÙî ûÄ® †ú™‡Í™àé ARMENIAN FISHERMEN AT KUMKAPI KUMKAPI ERMEN‹ BALIKÇILARI 1952 ARA GÜLER 1928’de ‹stanbul’da do¤du. Türkiye’de yarat›c› foto¤rafç›l›¤›n uluslararas› alanda ün kazanm›fl en önemli temsilcisidir. 1951’de Getronagan Lisesi’nden mezun oldu. Gazetecilik yaflam›na 1950’de Yeni ‹stanbul gazetesinde bafllad›. Bu y›llarda Ermenice gazete ve edebiyat dergilerinde öyküleri yay›mland›. 1956’da Time-Life, 1958’de Paris-Match ve Stern dergilerinin yak›ndo¤u foto muhabirli¤ini üstlendi. Ayn› dönemde Magnum Ajans›’na kat›ld›. 1961’de ‹ngiltere’de yay›mlanan British Journal of Photography Year Book, onu dünyan›n en iyi yedi foto¤rafç›s›ndan biri olarak tan›mlad›. 1962’de Almanya’da ‘Master of Leica’ unvan›n› kazand›. Dünyan›n dört bir yan›nda yüzlerce sergi açt›. Bertrand Russell’dan Winston Churchill’e, Arnold Toynbee’den Picasso’ya, Salvador Dali’ye kadar birçok ünlü kiflinin foto¤raf›n› çekti, onlarla röportajlar yapt›. Foto¤raflar›n›n büyük bir bölümü Paris’te Ulusal Kitapl›k’ta, ABD’de Nebraska Üniversitesi Sheldon Koleksiyonu’nda, ayr›ca Boston, Chicago ve New York’ta özel koleksiyonlarda bulunmaktad›r. Ayr›ca Almanya’da, Köln’de Ludwig Museum’da ve Das imaginärische Photo-Museum’da foto¤raflar› sergilenmektedir. 2006’da yay›mlanmaya bafllayan ‹z dergisinin yay›n yönetmenli¤ini yap›yor. - Türkiye Gazeteciler Cemiyeti, meslekte 50 y›l›n› dolduran gazetecilere verilen Burhan Felek Bas›n Hizmet Ödülü, 1999 - 70. yafl günü nedeniyle Ermeni Patrikhanesi taraf›ndan verilen Liyakat Niflan›, 2000 - ‘Yüzy›l›n Foto¤rafç›s›’ unvan›, 2000 ‹stanbul - Frans›z Hükümeti taraf›ndan ‹stanbul’daki Frans›z Saray›’nda ‘Légion d’Honneur; Officier des art et des lettres’ unvan›, 2000 - Y›ld›z Üniversitesi Fahri Doktora unvan›, 2004 - Cumhurbaflkanl›¤› Kültür Sanat Büyük Ödülü, 2005 - Kültür ve Turizm Bakanl›¤› Kültür Sanat Hizmet Ödülü, 2008 - Paris Belediyesi Vermeil Madalyas›, 2009 - TBMM Üstün Hizmet Ödülü, 2010 Bafll›ca Kitaplar› Foto¤raflar (Karacan, 1980, ‹stanbul); Ara Güler’in Sinemac›lar› (Hil, 1989, ‹stanbul); Sinan, Architect of Soliman the Magnificient (Arthaud, 1992, Paris; Thames and Hudson, 1992, Londra ve New York); Living in Turkey (Albin Michel, 1993, Paris; Thames and Hudson, 1993, Londra ve New York; Archipelago Press, 1993, Singapur); Eski ‹stanbul An›lar› (Dünya, 1994, ‹stanbul); Bir Devir Böyle Geçti, Kalanlara Selam Olsun (Ana, 1994, ‹stanbul). Yitirilmifl Renkler (Dünya, 1995, ‹stanbul); Yüzlerinde Yeryüzü (Ana, 1995, ‹stanbul); Babilden Sonra Yaflayaca¤›z (K›sa hikâyeler, Aras, 1996, ‹stanbul); Ara Güler’e Sayg› (YGS, 1998, ‹stanbul, Hamburg); ‹stanbul des Djinns (Fata Morgana, 2001, Montpellier, Fransa); Yeryüzünde Yedi ‹z (Yap› Kredi, 2002, ‹stanbul); 100 Yüz (Yap› Kredi, 2003, ‹stanbul); Retrospektif – 50 Y›l Fotojurnalizm (YGS, 2004, ‹stanbul, Bremen); Ara Güler (Antartist, 2005, ‹stanbul); Ara’dan Yetmiflyedi Y›l Geçti Best of Ara Güler(Fotografevi, 2005, ‹stanbul); Beyaz Güvercinli Adam (Fotografevi, 2007, ‹stanbul); Ara Güler (Hachette, 2007, Paris), Afrodisyas Ç›¤l›¤› (Yap› Kredi, 2008, ‹stanbul) Bafll›ca Ödülleri - British Journal of Photography Year Book taraf›ndan ‘Yedi Y›ld›z Foto¤rafç›’dan biri seçildi, 1961 ‹ngiltere - Leica Firmas› taraf›ndan dünyada sadece 38 kifliye verilen ‘Master of Leica’ unvan›, 1962 Almanya - Gazeteciler Cemiyeti Ödülü, 1979 - Baflbakanl›k Bas›n Yay›n ve Enformasyon Genel Müdürlü¤ü taraf›ndan “Türkiye’nin Yurtd›fl› Tan›t›m›na Katk›lar›ndan” dolay›, Cumhurbaflkan› Turgut Özal taraf›ndan verilen fieref Ödülü, 1991 - Baflar›l› ‹letiflimciler Ödülü, 1995 - ‹FSAK Y›l›n Foto¤rafç›s› Ödülü, 1995 - Ayd›n Do¤an Vakf› Görsel Sanatlar Büyük Ödülü, 1999 7 ARA GÜLER - Photographer of the Year Award from ‹FSAK, 1995 - Grand Prize for Visual Arts by the Ayd›n Do¤an Foundation, 1999 - Burhan Felek Services to the Media Award, presented to journalists after 50 years in the profession by the Turkish Association of Journalists, 1999 - The Order of Merit by the Armenian Patriarchate to mark his 70th birthday, 2000 Istanbul - Named Photographer of the Century in Turkey, 2000 - Légion d’Honneur medal and title of Officier des Arts et des Lettres by the French Government in the Palais de France, 2002 - Honorary doctorate from Y›ld›z University, 2004 - Presidencyof the Republic Of Turkey Grand Award for Culture and Art, 2005 - Vermeil Medal by the Municipality of Paris, 2009 - Outstanding Service Award of Turkish Parliament, 2010 He was born in Istanbul in 1928. The most important living representative of creative photography in Turkey today, he has a well-established international reputation. In 1951 he graduated from Getronagan High School. He began a career in journalism with the newspaper Yeni ‹stanbul in 1950. He started to write short stories in Armenian. He became a photojournalist for Time-Life in 1956 and for Paris Match and Stern in 1958. Around the same time, he joined the Magnum Agency. In the British Journal of Photography Year Book published in 1961, he was named one of the seven best photographers in the world. In 1962, he received the ‘Master of Leica’ award in Germany. He has also interviewed and photographed numerous celebrities ranging from Bertrand Russell and Winston Churchill to Arnold Toynbee, Pablo Picasso and Salvador Dali. Many examples of Ara Güler’s photographic work are to be found in institutions such as the French National Library in Paris and the Sheldon Collection at Nebraska University as well as in private collections in Boston, Chicago and New York. His photographs are also on display at the Ludwig Museum and at Das Imaginäre Photo-Museum, both in Cologne. Ara Guler is the chief editor of the ‹z magazine. Major Publications Foto¤raflar (Istanbul, 1980); Ara Güler’in Sinemac›lar› (Istanbul, 1989); Sinan, Architect of Soliman the Magnificent (Paris, 1992; London and New York, 1992); Living in Turkey (Paris, 1993; London and New York, 1993; Singapore, 1993); Eski ‹stanbul An›lar› (Istanbul, 1994); Bir Devir Böyle Geçti, Kalanlara Selam Olsun (Istanbul, 1994); Yitirilmifl Renkler (Istanbul, 1995); Yüzlerinde Yeryüzü (Istanbul, 1995); Babilden Sonra Yaflayaca¤›z (Istanbul, 1996); Tribute to Ara Güler (Istanbul, Hamburg, 1998); Istanbul des Djinns (Montpellier, 2001); Seven Landmarks of the World (Istanbul, 2002); 100 Yüz (Istanbul, 2003); Retrospektif 50 Y›l Fotojurnalizm (Istanbul, 2004); Ara Güler (Istanbul: Antartist Yay›nlar›, 2005); Ara’dan Yetmiflyedi Y›l Geçti Best of Ara Güler (Istanbul, 2005); Beyaz Güvercinli Adam (Istanbul, 2007); Ara Güler (Paris, 2007); Call of Aphrodisias (Istanbul, 2008) Selected Awards - Named one of ‘Seven Star Photographers’ in the British Journal of Photography Year Book, 1961 Britain - ‘MASTER OF LEICA’, a title awarded by Leica to only 38 artists in the world, 1962 Germany - First Prize in Photojournalism by the Turkish Association of Journalists, 1979 - Received the honorary award of the Office of the Prime Minister, Directorate General of Press and Information for services in promoting Turkey overseas and was presented with the award by the then President, Turgut Özal, 1991 - Successful Communicators Award, 1995 8 ÄÄ® úîÙñå - ñçïÖÅï ù·£ßç Å≠ôÅÒüï ßçÁ ßïÅ©´ 38 ü·Öïï ÔÒ·ıÅõ ƶÅÎëèÒ Å˝ ñçïÖÅØ ù·„·ıßè, 1962, ÑâÒßÅ´ïÅ - ñÒÅÖÒ·£´âÒ·ı ¶ï·ıëâÅ´ ñ·ıÎÅ´ùÅÒ„·ıëâÅ´ ÄÈÅÁï´ ßÒÛÅ´Åù, 1979 - ÏÅÒ„ÅÂâÔÅÒÅ´ï ¶Åß·ıóï ûÒÅÔÅÒÅù„·ıëâÅ´ âı Óâ£âùÅÔ·ı·ıëâÅ´ é´áüÅ´·ıÒ Ó´˚Òç´·ıëâÅ´ ù·£ßç Æê·ıÒ˘ïÅ´ ÄÒÔâÒùÒï ßçÁ öÅ´˚ëÅÛ´âó·ı ïÒ ™âÒáÒ·ıß´âÒ·ı´Ø üÅßÅÒ, ¶ïÁÅãÖÅ©ï´ ¶Åß·ıóï úâáÒ·´ï ÉÅÛßÅ´ ÅÈïë·Ì Íç˜çë„ïóçÒ ¯ÅÎÒèï ßçÁ, ìÅßÅ´Åùï ™ÅôÅÖÅü ê·ıÒù·ıë å˚ãÅóï ù·£ßç ≠´·Òü·ıÅõ ‰ÅÔı·© ‰ÅÒÖâı, 1991 - ®ÅÁ·£Åù ®ÅÒÅÉâÒ·ıëïı´´âÒ·ı ‰ÅÒÖâı, 1995 - ‹FSAK-ï ù·£ßç ÔÒ·ıÅõ ÆÓÅÒı·©´ ñ·ıÎÅ´ùÅÒï„ï ¶ÒÛÅ´ÅùØ, 1995 - Ä©Ôè´ Ó·£Å´ ûïß´ÅÒùï´ ù·£ßç ÔÒ·ıÅõ ÆÓâη£ÅùÅ´ ÄÒ·ıâÎÔ´âÒ·ı ÇÅÒ°Ò ‰ÅÒÖâıØ, 1999 - ê·ıÒ˘ï·© ñÒÅÖÒ·£´âÒ·ı ¶ï·ıëâÅ´, 50 ÔÅÒï´ ÅßÉ·£ÁÅÛ´·£ óÒÅÖÒ·£´âÒ·ı´ ÔÒ·ıÅõ Ɖ·ıÒüÅ´ ¸çóç˘Ø ßÅß·ıóï õÅÈÅ©·ıëâÅ´ ßÒÛÅ´Åù, 1999 - 70ÅßâÅùï´ ÅÈïë·Ì ûÅ©·Û ‰ÅÔÒïÅÒ˘ÅÒÅ´ï´ ù·£ßç ÔÒ·ıÅõ ÄÒìÅ´Åı·Ò·ıëâÅ´ ¨˘Å´≠Å´, 2000 - ¸ÒÅ´ÎÅùÅ´ úÅÈÅÌÅÒ·ıëâÅ´ ù·£ßç îÎëŴ·ıó ¸ÒÅ´ÎÅùÅ´ ‰ÅóÅÔï´ ßçÁ ƉÅÔı·© ñâÖâ·´, ÍÂÅ© ÄÒ·ıâÎÔïÛ âı ÑÒÅùÅ´·ıëâÅ´Ø ù·„·ıßè, 2000 - àèóÔèã ûÅßÅóÎÅÒÅ´ï ù·£ßç ‰ÅÔı·© Ü·ùÔ·Òï ù·„·ıß, 2004 - ê·ıÒ˘ï·© ûÅ´ÒÅÂâÔ·ıëâÅ´ ™ÅôÅÖÅü·ıëâÅ´ ¶≠Åù·©ëï âı ÄÒ·ıâÎÔï ÇÅÒ°Ò ‰ÅÒÖâı, 2005 - ê·ıÒ˘ï·© ûÅ´ÒÅÂâÔ·ıëâÅ´ ¶≠Åù·©ëï âı äÉ˚ÎÅ≠ÒÁ·ıëâÅ´ ™ÅôÅÒÅÒ·ıëâÅ´, ¶≠Åù·©ëï âı ÄÒ·ıâÎÔï öÅÈÅ©·ıëâÅ´ ¶ÒÛÅ´Åù, 2008 - ˆÅÒïãï ¯Å£Å˘ÅÂâÔÅÒÅ´ï´ ù·£ßç ÏçÒßïçó ¶çÔÅ©ó, 2009 - ê·ıÒ˘ï·© ÄãÖÅ©ï´ ¶âõ ò·ÒüÒáÅÒÅ´ ÇÅÒ°Ò öÅÈÅ©·ıëâÅ´ ‰ÅÒÖâı, 2010 ÄÒÅ© úïıóçÒ õ´Åõ ç îÎëŴ·ıó, 1928-ï´: ê·ıÒ˘ï·© üâ£ï´ÅùÅ©ï´ (ÎÔâ£õÅÖ·Òõ) ó·ıÎÅ´ùÅÒ„·ıëâÅ´ üÈ„Åù ≠ÅüÅõ Åßç´ç´ ùÅÒâı·Ò ´âÒùÅ©ÅÛ·ıÛï„´ ç ßïÁÅãÖÅ©ï´ ÅÎÂÅÒçãï´ ßçÁ: ¨ÒÁÅ´ÅıÅÒÔ â£Åõ ç úâáÒ·´ÅùÅ´ ÏÅÒìÅÒÅ´ç´ 1951 ë·ıÅùÅ´ï´: ñÒÅÖÒ·£ÅùÅ´ ùâÅ´˘ï´ ùè ÎùÎï 1950-ï´ à´ï îÎëŴ·ıó ëâÒëï´ ßçÁ: Ä©Î ÔÅÒï´âÒ·ı´ ùè üÒÅÔÅÒÅù·ıï´ ïÒ ÂÅÔß·ıÅõ˘´âÒè üÅ©Åóâã·ı ëâÒëâÒ·ı âı ÖÒÅùÅ´ üÅ´áçδâÒ·ı ßçÁ: 1956-ï´ êÅ©ß-ñÅ©˝, âı 1958-ï´ ˆÅÒï-¶Å„ âı ÍëçÒ´ ÂÅÒÉâÒÅùÅ´´âÒ·ı´ ¶âÒ°Åı·Ò ÄÒâıâó˘ï ó·ıÎÅ´ùÅÒ„ÅùÅ´ óÒÅÔ·ı·ıëïı´è ©Å´°´ ù˛ÅÈ´ç: ™·©´ ≠ÒÁÅ´ï´ ùè ßïÅ´Å© ÄìÅ´Î ¶Åù´·ıßï´: 1961-ï´ Ä´ÖóïÅ üÒÅÔÅÒÅù·ı·£ ÇÒïÔÅ´ÅùÅ´ ñ·ıÎÅ´ùÅÒ„ÅùÅ´ ûÅ´áçÎï ÓÅÒâÖïÒ˘è ãï´˘ ù˛è´á·ı´ï ·ÒÂçÎ Å≠ôÅÒüï óÅıÅÖ·©´ â˚ëè ó·ıÎÅ´ùÅÒï„´âÒç´ ßï´: 1962-ï´ ÑâÒßÅ´ï·© ßçÁ ùè ≠Åüï ¶ÅÎëèÒ Å˝ ñçïÖÅ ù·„·ıßè: úïıóçÒ, Å≠ôÅÒüï „·ÒÎ ù·£ßè üÅÒïıÒÅı·Ò Û·ıÛÅüÅ´áçδâÒ ÉÅÛÅõ ç: Ä´ ó·ıÎÅ´ùÅÒÅõ ç ‰çÒëÒÅ´Ô ËÅÎÎèóç´ ßï´„âı ‡ıï´èÎë·´ ‚èÒ„èó, ÄÒ´·óÔ ê·©´Âïç´ ßï´„âı ˆï˘ÅÎÎ˚ âı ÍÅóÌÅÔ·Ò ÓÅóï, ï´„ÂçÎ ´Åâı ßâõ ëïı·Ì Å©ó üÈ„ÅùÅı·Ò Å´°´Åı·Ò·ıëïı´´âÒ, ·Ò·´Û üâÔ ´Åâı ùÅÔÅÒÅõ ç üÅÒÛÅãÒ·©Û´âÒ: ÄÒÅ úïıóçÒï ó·ıÎÅ´ùÅÒ´âÒ·ı ÉÅãßÅëïı ´ß·©≠´âÒ Ô⣠ÖÒÅıÅõ â´ ˆÅÒïãï ÄãÖÅ©ï´ ÑÒÅáÅÒÅ´ï´ ßçÁ, Ķ™ÅüÅ´Ö´âÒ·ı ™âÂÒÅÎ˘Å©ï ûÅßÅóÎÅÒÅ´ï ¨çóÔ·´ ûÅıÅ˘Åõ·©ï´ ßçÁ. úïıóçÒï ó·ıÎÅ´ùÅÒ´âÒç´ ùÅ´ ´Åâı ‰·Îë·´ï, ¨ï˘Åù·©ï âı ™ïı à·Ò˘ï ßçÁ` ·Ò·´˘ ßÅÎ ùè ùÅãßâ´ Å´°´ÅùÅ´ üÅıÅ˘Åõ·´âÒ·ı: îÒ ó·ıÎÅ´ùÅÒ´âÒè ùè Û·ıÛÅáÒ·ıï´ ´Åâı ÑâÒßÅ´ï·© ¯ç˚ó´ ˘Å£Å˘ï ñïıÔÌïù êÅ´ÖÅÒÅ´ï âı ÓÅÎ ïßÅ•ï´ÅÒï≠ ¸˚ë˚ ¶ïıãç·ıßï ßçÁ: úïıóçÒ, 2006 ë·ıÅùÅ´ï´ üÒÅÔÅÒÅù·ıëâÅ´ Îùη£ îã üÅ´áçÎï´ ÖóôÅı·Ò ôßÉÅÖïÒï ÂÅ≠Ô˚´è ùè ÌÅÒç: ÑóôÅı·Ò ¶ ÒÛÅ´Åù´âÒè - Ä´ÖóïÅùÅ´ ‰Òïëï≠ §·ıÒ´èó ˚˝ ¸·ë·ùÒÅ˝ï àèÒ ‰·ı˘ï ù·£ßç Æà˚ëè ñ·ıÎÅ´ùÅÒï„ ÄÎÔ£âÒØç´ ßçùè è´ÔÒ·ıÅõ ç 1961, Ä´ÖóïÅ 9 ÑóôÅı·Ò ÑïÒ˘âÒè ñ·ıÎÅ´ùÅÒ´âÒ, 1980, îÎëŴ·ıó. ÄÒÅ© úïıóçÒï ¨ÅÒìÅ´ùÅÒï„´âÒè, 1989, îÎëŴ·ıó. Íï´Å´, Íïıóç©ßÅ´ Äüâ£ï §ÅÒÔÅÒÅÂâÔè, 1992, ˆÅÒïã, ñ·´Ô·´ âı ™ïı à·Ò˘. ê·ıÒ˘ï·© ¶çÁ ÄÂÒïó, 1993, ˆÅÒïã ñ·´Ô·´ âı ™ïı à·Ò˘, Íï´ùŘ·ıÒ. ®·ı≠âÒ ûï´ îÎëŴ·ıóç´, 1994, îÎëŴ·ıó. ÓÅδÅßâÅù ßè Ä©ÎÂçÎ Ä´ÛÅı, ‡£Á·©´ ¶´ÅÛ·£´âÒ·ı´, 1994, îÎëŴ·ıó. Ä´ÛÅõ Ñ·©´âÒ, 1995, îÎëŴ·ıó. àÒùÒÅÖ·ı´áè Ä´·´Û ÜçߢâÒ·ı´ ÏÒÅ©, 1995, îÎëŴ·ıó. ®ÅÒÖÅ´˘ ÄÒÅ© úïıóçÒï´, 1998, îÎëŴ·ıó, ûÅß·ıÒù. ÇÅÉâó·´ç´ ÏâÒÁ ‰ïÔï ÄÂÒï´˘, 1996, îÎëŴ·ıó. ‡ıÒ·ıÅùÅ´´âÒ·ı îÎëŴ·ıóè, 2001, ¶·´Âçóïç, ¸ÒÅ´ÎÅ. àÒùÒÅÖ·ı´áï´ ÏÒÅ© à˚ëè ÜçߢâÒ, 2002, îÎëŴ·ıó. 100 Üçߢ, 2003, îÎëŴ·ıó. ®âÔÅáÅÒ° - 50 ÔÅÒï ñ·ıÎÅ´ùÅÒ„ÅùÅ´ ñÒÅÖÒ·ıëïı´, 2004, îÎëŴ·ıó, ‰Òçßç´. ÄÒÅ© úïıóçÒ, 2005, îÎëŴ·ıó. ÄÒÅ©ç´ à˚ëÅ´Åηı´â˚ëè ÓÅÒï Ä´ÛÅı - ÄÒÅ© úïıóçÒï ñÅıÅÖ·©´´âÒè, 2005, îÎëŴ·ıó. ÍÂïÔÅù Ä£Åı´ï·Ì ¶ÅÒáè, 2007, îÎëŴ·ıó. ÄÒÅ© úïıóçÒ, 2007, ˆÅÒïã. Ä˝Ò·ÔïÎâÅÎï §ï„è, 2008, îÎëŴ·ıó: 10 KUMKAPI ERMEN‹ BALIKÇILARI ARMENIAN FISHERMEN AT KUMKAPI чٶÑÄLJÙî ûÄ® †ú™‡Í™à‡Ù™ ûàÓ KUMKAPI ERMEN‹ BALIKÇILARI ARMENIAN FISHERMEN AT KUMKAPI ARA GÜLER H›zla geçen zaman insan›n haf›zas›ndan hiç unutmam sand›¤› fleyleri bile silebiliyor. ‹flte ben de tam 41 y›l önce Kumkap› bal›kç›lar›yla yapm›fl oldu¤um fotoröportaj› neredeyse tamamen unutmuflum. Bir süre önce arflivimde baflka fleyler ararken bu siyahbeyaz foto¤raflara rastlay›nca birden o günleri an›msay›verdim: Y›l 1952, Kumkap› hâlâ ufak bir bal›kç› köyüdür, ‹stanbul ise sularla çevrili bir k›y› flehri. Birkaç y›l sonra Sahil Yolu yap›l›nca bu flirin bal›kç› liman› büsbütün baflka bir biçim alacak. Ama o zaman bunun böyle olaca¤›n› kimse bilmiyor, tahmin edemiyordu; ne bal›kç›lar, ne bal›kç› reisleri, ne Kumkap› halk›, ne de ben... The speed of passing time can erase things from a person’s memory that he thinks he could never forget, just as I had almost completely forgotten the photo-report about the Kumkap› fishermen that I did exactly 41 years ago. Not too long ago, looking through my archives for something else, I came across these black-and-white photos and suddenly remembered those days. The year was 1952, and Kumkap› was still a little fishing village. Eight years later the construction of the coastal highway would completely transform this pleasant little fishing port. But at the time, no one knew or could have guessed that this would happen: neither the fishermen, the skippers, the people of Kumkap› nor myself… ‹flte bu siyah-beyaz foto¤raflar çoktan yitmifl olan bir dünyan›n belki de tek tan›klar›d›r. So there you have it, these black-and-white photos are perhaps the only witnesses to a world that has long since vanished. O zamanlar›n dergi ve gazetelerinde kullan›lan teknoloji henüz renkli foto¤raf basmaya müsait de¤ildi. чٶÑÄLJÙî ûÄ® †ú™‡Í™àé ÄÄ® úîÙñå ÄÒÅÖ Å´Û´·£ ìÅßÅ´Åùè, ßÅÒá·ıÎ ©ï≠·£·ıëâ´ç´ ïÒ Å´ß·ÈÅ´Åóï ´ùÅÔÅõ´âÒ´ ïÎù ùÒ´Å© Á´Áâó: ÄüÅ âÎ Åó •ï≠á 41 ÔÅÒï´âÒ ÅÈÅÁ Ñ·ıßÖÅÉ·ıï °ù´·ÒδâÒ·ı´ üâÔ ùÅÔÅÒÅõ ó·ıÎÅ´ùÅÒ„ÅùÅ´ üÅÒÛÅãÒ·©Ûè ÖÒâëç ÅßÉ·£Á·Ìï´ ß·ÈÛÅõ çï: ¶ïÁ·Û ßè ÅÈÅÁ, âÒÉ ÅÒôïıïÎ ßçÁ ·ıÒï≠ ÉÅ´âÒ ùè ˜´ÔÈçï, Å©Î Îâı-•âÒßÅù ó·ıÎÅ´ùÅÒ´âÒ·ı´ üÅ´áïÂâÛÅ©, ïÎù·©´ Å©á ˚ÒâÒè ßÔÅÉâÒâÛï: ÓÅÒï´` 1952, Ñ·ıßÖÅÉ·ı´ ÔÅùÅıï´ ÂãÔïù °ù´·ÒÎï Öïı£ ßè´ ç, ïÎù îÎëŴ·ıóè ÂÅÒÎÂÅÂÅÔ õ·ÌâãâÒ- âÅ© ˘Å£Å˘ ßè: ‡ıë ÔÅÒï âÔ˘, âÒÉ ö·ÌâãâÒ˘ï §ÅßÉÅ´ ≠ï´·ıçÒ, Å©Î ÎïÒ·ı´ °ù´·ÒÎÅùÅ´ ´ÅıÅüÅ´ÖïÎÔè É·ó·Ò·Ìï´ ÔÅÒÉâÒ ùâÒÂÅÒÅ´˘ ßè ÂïÔï ÎÔÅ´ÅÒ: ÍÅùÅ©´ Å©´ ÅÔâ´ ·„ ßçùè ÖïÔçÒ ùÅß ùÒ´ÅÒ Ö·ı≠Åùâó, ëç Å©áÂçÎ ÂïÔï èóóÅÒ. ·„ °ù´·ÒδâÒè, ·„ ´ÅıÅÌÅÒ´âÒè, ·„ Ñ·ıßÖÅÉ·ıï É´Åù„·ıëïı´è, ·„ Åó âÎ... ÄüÅ Å©Î Îâı-•âÒßÅù ó·ıÎÅ´ùÅÒ´âÒè ≠ÅÔ·´Û ÌâÒÅÛÅõ Å≠ôÅÒüï ßè ëâÒâıÎ ßïÅù ÌùÅ´âÒ´ â´: Ä©á ìÅßÅ´Åù´âÒ·ı ÅßÎÅÖïÒâÒ·ı´ âı ëâÒëâÒ·ı´ 15 Ama ben yine de Kumkap› bal›kç›lar köyünün y›k›laca¤›n› duyunca oraya tekrar tekrar gidip çok say›da renkli foto¤raf da çekmifltim. Arflivimde uzun uzun arad›ktan sonra nihayet bu renkli foto¤raflar› da bulmay› baflard›m. Ne var ki geçen zaman›n etkisiyle hepsi k›pk›rm›z› olmufl, bozulmufltu. Dolay›s›yla, Kumkap› bal›kç›lar› tarihe siyah-beyaz olarak kald›. Gecenin kör karanl›¤›nda denize ç›k›p gün a¤ar›rken dönüyor ve avlanan bal›klar› goygoycularla paylaflt›ktan sonra kalanlar› bal›k haline götürüyorlard›. Goygoycular gecenin içinde a¤ çevirerek ba¤›ra ça¤›ra kürek çeker, a¤a tak›lm›fl bal›klar meflalenin titrek ›fl›¤›nda par›ldayarak oynafl›r ve bütün bunlar günün ilk saatlerinde ‹stanbul’un minareli siluetine do¤ru ilerlerdi. ‹flte o güzelim Kumkap› bal›kç› köyünden kala kala birkaç siyah-beyaz foto¤raf ve an›lar›mdaki o alacakaranl›k sabahlar kald›. ‹stanbul üç ayl›k dergi, say› 7, 1993. At that time, the technology used to produce periodicals and newspapers didn’t permit the use of color photography. But when I heard that the Kumkap› fishermen’s village was going to be demolished, I went there repeatedly and took numerous color photos. After a long search through my archives I finally succeeded in locating them, but as fate would have it, they had all reddened with the passage of time and were completely ruined. As a result, the Kumkap› fishermen are passing into history as black-and-white. The fishermen would go out to sea in the dark of night and return as the day was dawning, taking their remaining catch to the fishmarket after sharing it with the goygoycus. The goygoycus would row through the dark night, turning the nets, shouting as they rowed; the fish caught in the nets would slide and slither, sparkling in the trembling torchlight as they moved in the early hours of morning towards the minaret-studded silhouette of Istanbul. And so, this is all that remains of the lovely Kumkap› fishing village: a few black-andwhite photos and my memories of those dark hours before dawn. ‹stanbul trimonthly, no 7, 1993. Ö·ÒõÅõÅõ ÅÒüâÎÔÅÖïÔ·ıëïı´è ÔÅùÅıï´ Ö·ı´Åı·Ò ó·ıÎÅ´ùÅÒ´âÒ ÔÂâó·ı ©ÅÒßÅÒ „çÒ: ÇÅ©Û âÎ áâÈ âıÎ ïßÅ´Åó·Ì ëç ÂïÔï ˘Å´á·ıçÒ °ù´·ÒδâÒ·ı Öïı£è, ùÒùï´ ·ı ùÒùï´ ÖÅÛÅõ, ·ı ÉÅãßÅëïı Ö·ı´Åı·Ò ó·ıÎÅ´ùÅÒ´âÒ Åó ÅÒ°Å´ÅÖÒÅõ çï ü·´: ÄÒôïıïÎ ßçÁ âÒùÅÒ˚Òç´ ˜´ÔÈâóç âÔ˘, ÌâÒÁÅÂçÎ ùÒÛÅ© ÖÔ´âó Å©á Ö·ı´Åı·Ò ó·ıÎÅ´ùÅÒ´âÒè: ÇÅ©Û âı Å©´ÂçÎ, ìÅßÅ´Åùï ÅãáâÛ·ıëâÅßÉ É·ó·Ò´ Åó ùÅÎùÅÒßïÒ â£Åõ, ˜•ÅÛÅõ çï´: ûâÔâıÅÉÅÒ Ñ·ıßÖÅÉ·ıï °ù´·ÒδâÒè ÂÅÔß·ıëâÅ´ ßçÁ Îâı-•âÒßÅù èóóÅó·Ì ß´ÅÛï´: Ñï≠âÒ·ıÅ´ ß·ıëï´ ´ÅıÅÒùâó·Ì ÅÒ≠Åó·©Îï´ ùè ÌâÒÅáÅÈ´Å©ï´, âı °·ıùâÒè ù·©ù·©•ï´âÒ·ı´ üâÔ ÉÅì´âóç´ âÔ˘, ß´ÅÛÅõ´âÒè °ù´ÅÒÅ´ ùè ÔÅ- 16 ´çï´: ú·©ù·©•ï´âÒè Öï≠âÒè ÛÅ´Ûè áÅÒ°´âó·Ì ·ÈÅó ùÅ´„âó·Ì ùè ëïÅÌÅÒçï´, ÛÅ´Ûï´ ùÅô·ıÅõ °·ıùâÒè ÁÅüï´ ßÅÒßÒ·£ ó·©Îï´ ÔÅù ˜Åó˜óÅó·Ì ùè ôóÒÔÅ©ï´, âı Å©Î É·ó·Òè, ˚Ò·ıÅ´ ÅÈÅÁï´ ìÅßâÒ·ı´, ù˛·ı££·ıçï´ áçÂï ÍÔŴ·ıóï ßï´ÅÒç´âÒ·Ì ·ıÒ·ıÅÖïõè: ÄüÅ Ñ·ıßÖÅÉ·ıï °ù´·ÒδâÒ·ı Å©á ÎïÒ·ı´ Öïı£ç´ ß´ÅÛÅõ „ß´ÅÛÅõè ˘Å´ï ßè Îâı-•âÒßÅù ó·ıÎÅ´ùÅÒ âı ©ï≠ÅÔÅù´âÒ·ıÎ ßçÁï Å©á ÅÈÅı˚Ô´âÒ´ â´ ßë´≠Å£·Ì: îÎëŴ·ıó âÈÅßÎâÅ© ÂÅÒÉâÒÅëâÒë, ëïı` 7, 1993: ACEMDA⁄I MAHALLES‹ THE ACEMDA⁄I QUARTER MURAT BELGE Benim Kumkap›’ya gidip gelmeye bafllamam, altm›fllar›n ilk yar›s›na denk düfler. O tarihlerde Menderes buralardan geçmifl, bugünkü sahil yolu (yani Kennedy Caddesi) yap›lm›flt›. Kumkap› tren istasyonunun alt›ndaki geçitten geçince, bu caddeye ç›k›l›rd›. Onun için Ara Güler’in hem anlatt›¤›, hem de foto¤raflad›¤› “Acemda¤›” ad›ndaki mahalleyi ben hiç görmedim. My visits to Kumkap› began around the first half of the 1960s. By that time Menderes had passed through here and today’s seaside highway, Kennedy Road, had already been constructed. You reached this highway by going through the underground passage beneath the Kumkap› train station, so consequently I never got to know the neighborhood called “Acemda¤›” that Ara Güler described and photographed. Foto¤raf sanat›n›n gerçeklikle son derece s›k› f›k› bir iliflkisi vard›r. Zaten o nedenle Ara Güler, bu “sanat”›n dünya çap›nda ustas›, “Ben ‘sanatç›’ de¤ilim” der durur–ama pek kimseyi inand›ramaz. Ara Güler Acemda¤› mahallesinin gerçekli¤ini kameras›yla tesbit etmifl ve flimdi de bu gerçekli¤i bizlere sunuyor. The art of photography has a very intimate relationship with actuality. In fact, that’s why Ara Güler, a world-renowned master of this “art”, keeps insisting, “I’m not an ‘artist’,” even though he’s unable to convince anyone of that. Ara Güler has captured the actuality of the Acemda¤› quarter with his camera and presents us with its reality. Bu röportaj› 1952’de yapm›fl, o tarihte çekmifl bu resimleri. Benim yolumun Kumkap›’ya düflmesinden on y›l önce, bugüne göre neredeyse altm›fl y›l önce. Bu “zaman›” mahalleden ötürü de¤il, Ara’dan ötürü vur- He conducted this series of interviews in 1952, and took these photos at that time. That was ten years before I happened upon Kumkap›, nearly sixty years ħå¶ÓÄ¢î êĢĶÄÍé ¶‡ÙÄÓ ‰åñúå Ñ·ıßÖÅÉ·ı âÒëÅó-ÖÅó·ı ÎùÎïóÎ ùè ã·ıÖÅáïÂï ÌÅëηı´ÅùÅ´´âÒ·ı ÅÈÅÁï´ ùçÎï´: Ä©á ˚ÒâÒ·ı´ ¶ç´ÔçÒçÎè ÅÒáç´ ü·Îùç Å´ÛÅõ âı Å©Î˚Ò·ıÅ´ õ·ÌâãâÒ˘ï •ÅßÉÅ´ (Å©Îï´˘´ ¯ç´çÔï ‰·£·ÔÅ´) ≠ï´·ıÅõ çÒ: Ñ·ıßÖÅÉ·ı ≠·ÖâùÅÈ˘ï ùÅ©ÅÒÅ´ï´ ÎÔ·ÒÖâÔ´âÅ© Å´Û˘è ùè ÉÅÛ·ıçÒ Å©Î Â·£·ÔÅ©ï´ ÌÒÅ©: ûâÔâıÅÉÅÒ ÄÒÅ© úïıóçÒï´ ëçÿ ´ùÅÒÅÖÒÅõ, âı ëç ó·ıÎÅ´ùÅÒÅõ ÆÄ•çßÔÅ£ïØ ëÅ£ÅßÅÎè âÒÉ⢠„âß ÔâÎÅõ: ñ·ıÎÅ´ùÅÒ„ÅùÅ´ ÅÒ·ıâÎÔè „Å˜ÅãÅ´Û ß˚Ôç´ ©ÅÒÅÉâÒ·ıÅõ ç ïÒÅùÅ´·ıëâÅ´ üâÔ: ÄÒáç´ Å©á ÂÅÔ•ÅÈ·Ì Åó ÄÒÅ© úïıóçÒè` Å©Î “ÅÒ·ıâÎÔ”ï´ üÅßÅ≠ôÅÒüÅ©ï´ ßÅùÅÒáÅùï ÌÅÒÂâÔè` ÆàÎ “ÅÒ·ıâÎÔÅÖçÔ” „âßØ ù˛èÎç ≠ÅÒ·ı´Åù, ÉÅ©Û ·„ ßçùè ùè üÅß·ãç: Ä´ ïÒ ÔâÎÅôÛïù·Ì ÅÒ°Å´ÅÖÒÅõ ç Ä•çßÔÅ£ï ëÅ£ÅßÅÎï´ ïÒÅùÅ´·ıëïı´è, âı üïßÅ Å©á ïÒÅùÅ´·ıëïı´´ ç ·Ò ßâãï ùè ´âÒùÅ©ÅÛ´ç: Ä©Î üÅÒÛÅãÒ·©Ûè èÒÅõ ç 1952-ï´ âı ´·©´ ë·ıÅùÅ´ï´ Åó ó·ıÎÅ´ùÅÒÅõ: îß •ÅßÉÅÎ Ñ·ıßÖÅÉ·ıç´ 20