READING IZMIR CULTURE PARK THROUGH WOMEN's EXPERIENCES: MATINEE PRACTICES in the 1970S' CASINO SPACES a Ph.D. Dissertation By
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MELTEM ERANIL DEMİRLİ DEMİRLİ ERANIL MELTEM READING IZMIR CULTURE PARK THROUGH WOMEN'S EXPERIENCES: MATINEE PRACTICES IN THE 1970S’ CASINO SPACES READING IZMIR CULTUR A Ph.D. Dissertation by MELTEM ERANIL DEMİRLİ E PARKTHROUGH WOMEN 'S EXPERIENCES 'S B ilkent Department of Interior Architecture and Environmental Design University İhsan Doğramacı Bilkent University Ankara April 2018 2018 To the women, whom I have met and I haven’t met yet, that inspire me with their courage, strength and joy they bring in daily life READING IZMIR CULTURE PARK THROUGH WOMEN'S EXPERIENCES: MATINEE PRACTICES IN THE 1970S’ CASINO SPACES The Graduate School of Economics and Social Sciences of İhsan Doğramacı Bilkent University by MELTEM ERANIL DEMİRLİ In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN INTERIOR ARCHITECTURE AND ENVIRONMENTAL DESIGN THE DEPARTMENT OF INTERIOR ARCHITECTURE AND ENVIRONMENTAL DESIGN İHSAN DOĞRAMACI BİLKENT UNIVERSITY ANKARA April 2018 ABSTRACT READING IZMIR CULTURE PARK THROUGH WOMEN’S EXPERIENCES: MATINEE PRACTICES IN THE 1970S’ CASINO SPACES Eranıl Demirli, Meltem Ph.D., Department of Interior Architecture and Environmental Design Supervisor: Assoc. Prof. Dr. Meltem Ö. Gürel April 2018 From its establishment in 1936, Izmir Culture Park (ICP) became a historical marker of Turkish modernity, with its leisure and entertainment spaces celebrating modern values and conditions, while functioning as a medium for adapting them. Casinos, entertainment spaces with live music and food service, were a significant component of the park’s entertainment life from the very beginning. They diverged from their earlier cultural forms and aesthetics during the 1970s in response to the demands in the entertainment sector and the accompanying spatial needs, as well as women’s changing social position in the 1970s. Charting this divergence, and tracing how it came about, this study examines the ways in which ICP’s changing entertainment culture led the way in producing an alternative space -the matinee- for women. This study builds on existing histories of ICP by investigating and introducing new layers of meaning on women’s spatiality. It contributes to gender studies by analyzing how matinees encouraged women to participate in leisure activities, how women experienced this public space, and how they transformed it through their practices in living out their modernity. Women transformed the abstract space of ICP casinos into lived space. By pushing the 1970s social boundaries in Turkey, women both used and transformed the spaces of ICP as they took the opportunity to enjoy their freedom, albeit within the limited space of the casino and the limited time of the matinee. This study deeply investigates this socio-spatial transformation, within a tripartite iii theoretical structure of memory, gender and Lefebvrian spatial theories, in order to convey ‘herstory’1. Keywords: Izmir Culture Park, Matinee, Memory, Social Space, Women. 1 The term is borrowed from feminist critique of conventional historiography, which is believed to be documented as “his story” (Mills, 1992: 118). This study aims to emphasize the role of women in the production of space while giving importance to convey women’s point of view in describing matinee experience. iv ÖZET İZMİR KÜLTÜRPARK’I KADIN DENEYİMLERİ ÜZERİNDEN OKUMAK: 1970’LERİN GAZİNO MEKANLARINDA MATİNE PRATİKLERİ Eranıl Demirli, Meltem Doktora, İç Mimarlık ve Çevre Tasarımı Bölümü Tez Danışmanı: Doç. Dr. Meltem Ö. Gürel Nisan 2018 1936 yılında kuruluşundan bu yana İzmir Kültürpark, modern değerleri ve koşulları içinde barındıran sosyal tesis ve eğlence mekânlarıyla ve bu koşullara adapte olmayı sağlayan bir araç olarak, Türk modernliğinin tarihsel bir göstergesi haline gelmiştir. Canlı müzik eşliğinde yemekli eğlence hizmeti veren gazinolar, parkın kuruluşundan itibaren parkın önemli bir tamamlayıcı parçası olmuşlar; fakat eğlence sektöründeki değişen taleplere, beraberinde doğan mekânsal ihtiyaçlara ve 1970’lerde kadınların değişen sosyal konumlarına cevap olarak 1970'lerde daha önceki kültürel formlarından ve estetiklerinden farklılaşarak var olmuşlardır. Bu farklılığı değerlendiren, bunun nasıl ortaya çıktığının izini süren bu çalışma, İzmir Kültürpark’ın değişen eğlence kültürünü ve kadınlar için alternatif bir mekân olarak ürettiği matineleri ele almaktadır. Bu çalışma, kadının mekansallığının anlamsal tabakalarını araştırarak ve tanıtarak, Kültürpark’ın var olan tarihçesi üzerine temellendirilirken, aynı zamanda kadınların sosyal aktivitelerde rol almasını matinelerin nasıl teşvik ettiğini, kadınların bu kamusal alanı nasıl deneyimlediklerini ve modernliği sonuna kadar yaşamak için kadınların matineleri nasıl dönüştürdüklerini ele alarak cinsiyet çalışmalarına da katkıda bulunmaktadır. Kadınların İzmir Kültürpark gazinolarını soyut mekândan yaşayan mekâna dönüştürmesinden yola çıkan çalışma, gazinonun kısıtlı mekanında ve matinenin kısıtlı zamanında dahi olsa kadınların İzmir Kültürpark mekanlarını hem kullanıp, hem de dönüştürürken, nasıl özgürlüğün keyfini çıkardıklarını ve Türkiye’de v 1970’li yılların toplumsal sınırlarını nasıl zorladıklarını göstermektedir. Çalışma ‘herstory (kadının hikayesi)1’ kavramını bizlere aktarırken, bu sosyo-mekansal dönüşümü bellek, cinsiyet ve Lefebvre’in mekan teoremleri üzerinden kurguladığı üçlü teorik yapısıyla derinlemesine incelemektedir. Anahtar sözcükler: Bellek, İzmir Kültürpark, Kadınlar, Matine, Sosyal Mekan. 1 Terim, “his story (erkeğin öyküsü)” olarak belgelendiğine inanılan geleneksel tarih yazımının feminist eleştirisinden alınmıştır (Mills, 1992: 118). Buna ek olarak; çalışmanın amacı, matine deneyimini tanımlamada kadınların görüşünü aktarmanın önemine değinerek kadınların mekânın üretimindeki rolünü vurgulamaktır. vi ACKNOWLEDGEMENTS There are many people who have supported, threatened, cajoled, and reassured me throughout this lengthy process. I would not have finished this dissertation without them: • The participants in this study graciously gave me their time and shared their memories and experiences. They continue to inspire me. • Assoc. Prof. Dr. Meltem Ö. Gürel, my adviser and mentor, whose Yoda-like calm helped me keep it all together and whose enthusiasm for this project never wavered. • My work on this project and this document have benefited from the wisdom of my committee, Prof. Dr. Ali Cengizkan, Assoc. Prof. Dr. Yasemin Afacan, and Assoc. Prof. Dr. Maya Öztürk. • Assoc. Prof. Dr. Zeynep Tuna Ultav generously made it possible for me to make time for completing my dissertation while giving lectures at the university. I am deeply grateful for her support throughout my teaching experience and academic career. • My aunt, Semra Eranil patiently listened to my ideas, then kindly read drafts and gave me detailed, thoughtful feedback. vii • Yekta Abur edited the visuals in the study and made it all seem effortless. Thank you for all your valuable consideration. • Başak Zeka Demir, Merve Kurt Kiral and Pinar Sezginalp: it has been my privilege to walk with you on this journey. Thank you for the gift of your friendship. • Finally, my amazing family: my sister Özlem Eranil Terim, my grandmother Mübeccel Eranil, my aunt Semra Eranil, my mother-in-law Saadet Demirli and my loving husband Reşat Demirli, who cheer me on, support me and give me courage to go on in the most challenging of times. • Esma, I am so privileged to be your Mom. Thank you for your patience and love throughout this whole process. Mom is finally ready to play with you for the rest of her life. viii TABLE OF CONTENTS ABSTRACT………………………………………………….....................................................................iii ÖZET………………………………………………………………………………...…..…………….……………………….v ACKNOWLEDGMENTS……………………………………………….…………………………………..…….….….vii TABLE OF CONTENTS…………………………………………………………………………………………..….…...ix LIST OF TABLES……………………………………………………………………………………………………..……..xi LIST OF FIGURES……………………………………………………………………………….……………………..….xii CHAPTER 1: INTRODUCTION.……………….………..…………………….…………………………….,……1 1.1 Aim of the Study……………………………………………………………………...…..,.……13 1.2 Theoretical Framework and Structure…………..……..…………...……………,.…15 1.3 Sources and Methods…………………………………………………………………..….….20 CHAPTER 2: READING IZMIR CULTURE PARK AS A SOCIAL SPACE……………………...……26 2.1 Reinterpretation of the ICP’s History Through Lefebvre’s Spatial Triad.30 2.1.1 Creation of the ICP as a Representation of Early Republican Ideals……………………………………………………………………..…………….….33 2.1.2 Transformation of Entertainment Culture in the 1970s..........….46 CHAPTER 3: CASINOS: CREATING SPACES OF MEMORY..……….…………..…..………......…67 3.1 Historical Development of the Casino from the Eighteenth Century to the 1970s.………………………….…………………………………………………………….….70 ix 3.2 Spatial Characteristics of 1970s’ Casinos.…..……….…………......……….…….85 3.3 Significance of the Casino...………….…...…………….………………….………...…101 CHAPTER 4: WOMEN’S MATINEES: OPENING UP A SPACE FOR WOMEN….…….…….122 4.1 Women’s Status in 1970s’ Turkey……………………………………….….….……..132 4.2 Women’s Practices in Matinees………..…………..…..………..……..…….….….139 CHAPTER 5: DISCUSSION AND CONCLUSION………….………………………………….….………165 REFERENCES ………………………………………………..……………………………………………….………….173 APPENDICES A. The Methodology Used in Taking Oral Histories …………………………………..…190 B. Oral History Interview Questions for Women Users of Izmir Culture Park during the 1970s.…..…………………………………..…………….……………….……………..192 C. Additional Interview Questions for Understanding Physical Properties, Spatial Organizations and Spatial Practices