Esma muses on what it’s like to be both visible and invisible in Turkey



When in Turkey, I lose my cumbersome Scots Gaelic name in favor of something that is more verbally palatable to the locals. I become “Esma.” As regular readers of this blog may recall, Esma is also the hippie puppet that is a member of the Karagöz puppet troupe that inhabits my head in support of my cross-cultural relationship. You can read all about it on the “about” page, above. It’s 13 years in now, and I still need those puppets!
Whether I am using “Esma” or my real name, perhaps the most difficult aspect of being female in Turkey for me as a yabancı (foreigner) is knowing how to recognize and handle gendered situations in which I feel invisible and/or visible. Well, what exactly do I mean by that? Let’s let Esma the hippie puppet explain.
M’Lady feels very visible when in Turkey. Not only is she tall and pale, but no matter what tweaks she makes to her wardrobe, she doesn’t seem to fit in either in Istanbul (European side of the continent) or in rural Anatolia, (rural Turkey on the Asian continent) places where she and her husband spend good chunks of time. As soon as she is identified as an American, she represents what America is and is like to many she meets – and she doesn’t much like that visibility – she’d rather be invisible. Some comments she has received over the years include “she’s not like most Americans” and “she’s a bit heavy, like the Americans are because they eat two hamburgers a day.” Karagöz, the trickster puppet snuffs out a chortle on that one.
So, she is an obvious yabancı, but she is also obviously trying very hard (maybe too hard?) to be respectful of a culture she doesn’t always agree with. In fact, it’s taken her years to write this blog post because she hasn’t wanted to write in a way that highlights the stereotype of a macho, patriarchal country and culture. What she’s begun to realize, though, is that while her own experience of life with a Turkish husband is not macho or patriarchal, this is the exception. It’s hard to face the truth.
So, respecting a culture you don’t always agree with…How does this play out, you may ask. Well, let’s take the issue of walking down the street in Anatolia. For years, M’Lady was thrilled to be able to greet all those she saw on the street with the proper greeting for that time of day “iyi günler,” “iyi akşamlar,” or “iyi geceler.” She always felt a bit crestfallen when people – especially men – gave her the side eye and did not respond. It took many years for her to accept what her husband explained, that they were not responding out of respect for him. As in, “I won’t engage with your woman.” In essence, that’s your property. 
Now after really “getting” this, she takes to walking head down when she sees a traditional-looking man (yes, it’s an assumption) nearby, she’d rather avoid the whole situation. She wonders whether this is the right way to handle it, but when is one’s Liberty pushing one culture on another? When she walks head down, a sadness washes over her and she wonders what it would feel like to be an actual Turkish woman in Anatolia. Invisible?
She cheers herself up by remembering that there is a spectrum of how this plays out. In central Anatolia, it is explicit invisible-ness whereas in the Western Aegean region there is much more flexibility and some openness. She thinks this is because Islam is more rooted in central Anatoloa whereas secularism (and with it more of a focus on women’s rights) has much more of a grip on the way culture plays out.
Her husband is skilled at navigating the cultural divide in such situations – he eschews the archaic (in his mind) idea that she is his property but just allows the traditional interaction to play out, feeling perhaps that upsetting the apple cart with newfangled approaches to gender in the form of equity are just not going to fly in traditional situations far out in the countryside. And she’s getting better at it too, but still doesn’t like feeling invisible at times.

While a bitter pill to swallow, the type of walking on the street interaction was not as hard as some other types of situations when she was visible, yet invisible at the same time – even in the western Aegean region. Take waiting in line at the airport scanner only to have the men behind her push ahead of her while their wives waited behind her. Or take the experience of standing in the fish market, where an active conversation is going on both between the fishmonger and the husband as well as the husband and the wife (in different languages). Here, the wife is clearly an active part of the transaction, but the fishmonger never looks at her or speaks to her or even acknowledges her presence in any way. It feels odd to her, uncomfortable. She wonders whether Turkish women ever come to the fish market- I mean, they must, right? What happens then? How do they buy fish? Maybe it’s just the fact that I’m a yabancı gelin (foreign bride) that makes this worse? Or is it that my Turkish skills are not up to snuff? Or all of it?

And then there are the visits from her husband’s good friend on the western Aegean island. This year, when he greeted her warmly in Turkish, he both shook her hand and patted the top of her hand with his other hand. Progress! She thought. He even looked her in the eye. But other than that moment of visibility, she became mostly invisible again. Every afternoon, he stops by for tea, which she dutifully prepares in the double-boiling process. She prepares a tray with two glasses of tea, a bowl of sugar lumps and a plate of cookies (his favorite cookie has Nutella in it). She walks it out to the breezy spot where the friend and the husband sit, talking about life. 

She can usually tell what the topic of conversation is, but gets lost in the grammatical details. She places the tea in front of the friend, but he never acknowledges her or says thanks like her husband does (she wonders if her husband is modeling his ideal behavior for her friend?). She thinks this is because the friend expects she will do so, as the trees are expected to sway in the breeze, they just do. She is visible, yet invisible to this man. It’s just an odd place to be, especially as she know he has no ill will towards her.
Perihan hanım, the fairy godmother puppet steps in now, saying, it’s a blessing and a curse to see across two cultures. Just consider it part of your special power to understand differences – and make it work for you are you are able. Always remember to take the anthropologist role when you feel most uncomfortable, as this will help you make it through uncomfortable situations.
But when all is said and done, Perihan hanım continues, it is in your own marriage where you feel visible, and that’s the most important thing. It’s a good thing that your husband’s mother took special care in explicitly encouraging him to “not be macho,” for example. One day, when your husband was young and in love, he sought counsel from his mother, saying “she doesn’t understand that I love her.” The mother replied “well, most men wait for women to understand them – not the other way around. Maybe you need to try to understand her!” And this moment shifted his personal culture forever, which is perhaps one of the reasons he left Turkey, to be in a place where he fits in more.
As I reach this positive note, the Karagöz puppets bid me adieu and I finish my glass of tea, wondering, how does this play out for other women in Turkey – or other places? So what about you, dear reader? There’s no answer here, just the capacity to notice.

Posted in Cross-cultural learning moments, Gendered moments, On Islam and Muslims, Visits from the Karagöz puppets | Tagged , , , , , , | 6 Comments

Head for the Zeytin Cafe in Ürgüp, Kapadokya


While on their homecoming tour of Cappadocia (Kapadokya), the Karagöz puppets stumbled upon the most wonderful restaurant in Ürgüp. 

As you will recall, Mercan Bey, the spice trader, is an expert at finding amazing food no matter where he is in the world and there was no exception on this trip! In a town full of tourist-focused joints that looked lackluster at best, the Zeytin Cafe shines bright in green olive-colored light!

Be sure to try Derya hanım’s luscious version of yaprak dolması (stuffed grape leaves) or taze fasulye (warm green beans in a rich tomato broth) for your meze (appetizers).  Their salads are clean and bright with tomatoes, cucumbers, cabbage, lettuce and herbs from their own garden. We tried several main dishes and were wowed by their version of mantı (tiny Turkish ravioli in a yogurt sauce with red pepper in hot butter), the best I’ve had in Turkey.  Also wonderful was the saç kavurma which consists of small tender morsels of beef cooked in a wok-type shallow pan along with tomato and green peppers. This was so good that M. mopped up the sauce with şamadra (bread “buoys” in the sea of sauce).


But the best was really for last – irmik helvası – which is a kind of semolina pudding with walnuts and golden raisins all cooked in butter. Derya hanım adds her special touch in the form of lemon zest, which made this the best version of this dish I’ve ever had! Two in one restaraunt!
This food is the best of small-batch home cooking. You won’t want to miss it!

Posted in Puppets on the move around the world, Turkish Food! | Tagged , , , , , | 2 Comments

The Karagöz puppets review “Mustang”


mustang_posterThe Karagöz puppets recently high-tailed it to the cinema to check out “Mustang,” a new film by Turkish-French writer Denis Gamze Ergüven.  Set in Kastamonu province in Turkey, the film follows the lives of a set of beautiful and free-spirited adolescent sisters being raised in a conservative family headed by their Grandmother and Uncle.

Tackling the prickly topic of gender oppression in Turkey, during adolescence in particular, this film has been giving M’Lady agita since she saw the film’s trailer several months ago.  Always sensitive to the stereotypes about Turkey that people seem to project onto her marriage and her M., M’Lady worried that yet again, these stereotypes would be fulfilled in the film.  And “Mustang” doesn’t disappoint in this regard.

But in viewing “Mustang,” M’Lady realized something important about stereotypes.  While she knew that stereotypes are rooted in the truth, she realized that she had to move beyond her fight against them and into an embrace of what talking about them and showing them could do for society.  Now Karagöz butts in “Just what is M’Lady talking about?”

Well, M’Lady wishes to say that while the lives of girls in many parts of Turkey do not play out as they do in this film, the lives of other girls do.   And the fact that the lives of these other girls do requires us to tell their stories in order to bring awareness to the remaining realities of gender oppression in Turkey.  M. calls this Turkey’s “manly culture,” and that culture is very present in the film.  Here M’Lady is talking about the macho depiction of the girls’ uncle, regardless of his intentions to do right by them based on societal expectations (despite the fact that he is also portrayed as sexually abusing one of the girls).  And if M’Lady is honest with herself, while M. is in her view a feminist who values her opinion, efforts and dreams, she has certainly run into the gendered abyss of human interactions in Turkey herself.

While M’Lady has come to the conclusion that she is glad this film was made, so that the realities of some girls can be talked about in the open, there are other aspects of the film that she does not like.  She doesn’t, for example, appreciate the cinematography of the bodies of the girls – which feels overly sexualized to her.  The purpose of this choice is unclear to M’Lady.  But she can live with that given the larger good that the film provides.

So, in sum, this film does capture one truth about life in parts of Turkey – and as the women’s movement grows in that country, a film like this will ideally be a catalyst for change efforts – although it hasn’t gotten much press attention in Turkey from what I can tell. The truth is that while the gendered expectations of adolescent girls are painfully crushing in this film, in the end, what rises up is the creativity and resilience of those very girls stuck in an oppressive situation.  Indeed, the fact that the title of the film is “Mustang” should have some resonance here – a mustang is a strong-willed but small and hardy horse.

The Karagöz puppets give this film a thumbs-up and suggest that you read the reviews of “Mustang” here and here.  Specific comments from some of the puppets include the following:

Safiye Rakkase, the fashionable dancing girl puppet, says “The costumes used in the film were a wonderful choice – moving between the freedom of skinny jeans and shapeless drab conservative clothes really got an important message across.”

Esma, the hippie feminist puppet says “I couldn’t agree more with M’Lady’s complaint about the over sexualization of young girls’ bodies…but, let’s use this film to FIGHT THE POWERS THAT BE!”

Hacivad Bey, the learned Sufi elder says, “One thing that was very important about this film was the fact that religion seemed to be missing from the discussion – this was a discussion about culture.  It is always so tempting to have the call-to-prayer in films about the Middle East – and this film resisted that temptation, which was a good move.”

Mercan Bey, the Arabian spice trader says, “Well, given that Turkish food is amazing, it is terrible that the food wasn’t highlighted as more than something that the ‘wife factory’ of Grandma’s house had to produce.  Where was the lusciousness of the food, because, I mean, isn’t everything about food?”

 

 

 

Posted in Cross-cultural learning moments, Gendered moments, Turkish Art, Turkish Controversies, Visits from the Karagöz puppets | Tagged , , , , , , , , | 2 Comments