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Livelihoods, Integration & Transnationalism in a Protracted
| I LIVELIHOODS, INTEGRATION & TRANSNATIONALISM IN A PROTRACTED REFUGEE SITUATION CASE STUDY: BURMESE REFUGEES IN THAILAND Dissertation presented in fulfilment of the requirements for a Ph.D. degree in Political and Social Sciences, option Political Sciences. INGE BREES Ghent University August 2009 Thesis director: Prof. Dr. Koen Vlassenroot | II | III LIVELIHOODS, INTEGRATION & TRANSNATIONALISM IN A PROTRACTED REFUGEE SITUATION CASE STUDY: BURMESE REFUGEES IN THAILAND Dissertation presented in fulfilment of the requirements for a Ph.D. degree in Political and Social Sciences, option Political Sciences. INGE BREES Ghent University August 2009 Thesis director: Prof. Dr. Koen Vlassenroot | I CONTENT LIST OF TABLES, MAPS AND FIGURES .......................................................................... IV ACRONYMS ................................................................................................................. V ACKNOWLEDGEMENTS .............................................................................................. IX INTRODUCTION: HOW THIS RESEARCH FITS INTO THE DEBATES IN REFUGEE STUDIES AND POLICY ................................................................................................................ 1 1.1 Two settlement options: Refugee camps or self-settlement ............................... 3 1.2 The livelihoods approach ................................................................................... 7 1.3 Transnationalism and its impact ....................................................................... -
The Politics of Security in Ninewa: Preventing an ISIS Resurgence in Northern Iraq
The Politics of Security in Ninewa: Preventing an ISIS Resurgence in Northern Iraq Julie Ahn—Maeve Campbell—Pete Knoetgen Client: Office of Iraq Affairs, U.S. Department of State Harvard Kennedy School Faculty Advisor: Meghan O’Sullivan Policy Analysis Exercise Seminar Leader: Matthew Bunn May 7, 2018 This Policy Analysis Exercise reflects the views of the authors and should not be viewed as representing the views of the US Government, nor those of Harvard University or any of its faculty. Acknowledgements We would like to express our gratitude to the many people who helped us throughout the development, research, and drafting of this report. Our field work in Iraq would not have been possible without the help of Sherzad Khidhir. His willingness to connect us with in-country stakeholders significantly contributed to the breadth of our interviews. Those interviews were made possible by our fantastic translators, Lezan, Ehsan, and Younis, who ensured that we could capture critical information and the nuance of discussions. We also greatly appreciated the willingness of U.S. State Department officials, the soldiers of Operation Inherent Resolve, and our many other interview participants to provide us with their time and insights. Thanks to their assistance, we were able to gain a better grasp of this immensely complex topic. Throughout our research, we benefitted from consultations with numerous Harvard Kennedy School (HKS) faculty, as well as with individuals from the larger Harvard community. We would especially like to thank Harvard Business School Professor Kristin Fabbe and Razzaq al-Saiedi from the Harvard Humanitarian Initiative who both provided critical support to our project. -
In Collaboration with CSTM/SCTM
FEREN CON CE PROGRAM laboration with CSTM/ In col SCTM IC TM 2011 WE’RE PROUD TO WELCOME THE 41ST WORLD CONFERENCE OF ICTM to Memorial University and to St. John’s, Newfoundland and Labrador. This is a unique corner of Canada, the only part that was once an independent country and then the newest Canadian province (since 1949) but one of the oldest meeting points for natives and new- comers in North America. With four Aboriginal cultures (Inuit, Innu, Mi’kmaq, Métis); deep French, English, Irish, and Scottish roots; and a rapidly diversifying contemporary society, our citizens have shared a dramatic history, including a tsunami, an occupation during WWII, a fragile dependence on the sea including a cod moratorium in recent decades, a key role in the events of 9/11, and more recently, an oil boom. Its nickname – The Rock – tells a lot about its spectacular geography but also about its resilient culture. Traditional music and dance are key ingredients in life here, as we hope you will learn in the week ahead. Our meetings will take place at Memorial University, shown in the foreground of the photo below, and in the Arts & Culture Centre just to the west of the campus. To celebrate the conference themes in music itself, and to bring the public in contact with the remarkable range of scholars and musicians in our midst, we have organized the SOUNDshift Festival to run concurrently with the World Conference of ICTM. Five concerts, open to delegates and the general public, workshops by ICTM members and musicians featured on the concerts, and films are available as part of this festival. -
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Journal of Ethnic and Cultural Studies Copyright 2019 2019, Vol. 6, No. 2, 68-82 ISSN: 2149-1291 https://doi.org/10.29333/ejecs/255 Yezidis in ancient India, or Indians in ancient Mesopotamia?: Re-imagining Ancient Yezidi Origins Mija Sanders1 University of Arizona, Tucson, USA Abstract: Members and leaders of the Kurdish speaking Yezidi diaspora in Phoenix, Arizona—and transnationally—are in dialogue with members of the Indian diaspora about their common historical connections. “Are Yezidis from ancient India, or are Indians from ancient Mesopotamia?” Both of these claims and hypotheses situate Yezidis on the outside of a historical Muslim world, and have material effects. They add validity to non-Muslim traditions, by imagining a historical cultural root structure between India and Mesopotamia. They also help both Hindu nationalists and Yezidis to displace historical Muslim culture and dominance to somewhere else while reinforcing tropes of Islam synonymous with the “war on terror.” By de-historicising Islam and its presence in the Middle East and in India, Hindu and Yezidi community leaders co-imagine a pan-polytheism with roots in ancient Persian (Kurdish) Yezidi culture and language. The symbols that can be recognized today that span both traditions— the peacock, the peacock statue (sanjak), and the use of fire in places of worship—give testament to that imagined past. The contradictions of that historical narrative point to the limits of this historical work in the two communities, and find limits in modern identity articulations of Yezidi identity and Hindu identity alike. Material effects of the historical narrative include Indian imagery on the wall of Lalish, online circulating images and articles equating Yezidis to Hindus, and common activism, fundraising, and humanitarianism between Yezidi and Hindu communities in Phoenix, India, and in the Middle East. -
1 | Page Submission to the Senate Standing Committees on Foreign
Submission to the Senate Standing Committees on Foreign Affairs Defence and Trade on the Issues facing diaspora communities in Australia by the Yazidi Australian Association Yazidi Australian Association welcomes the opportunity to provide a Submission to the Senate Standing Committees on Foreign Affairs Defence and Trade on the Issues facing diaspora communities in Australia. Yazidi Australian Association represents the needs and issues of the newly arrived Yazidi community members in Australia. We are one of the most recently arrived small and emerging refugee communities in Australia. Majority of our community members have settled in rural and regional Australia including Coffs Harbour, Wagga Wagga, Armidale and Toowoomba with a smaller cohort settling in Western Sydney. Below is a brief outline of the persecution faced by Yazidi community members. Further cultural information can be provided upon request. The Yazidi (or Ezidi) are a people who originate from Iraq, Syria and Turkey. The population is estimated to be between 800, 000 and 1000, 0001 globally, although their population is difficult to estimate considering their dwindling numbers over the last century due to constant persecution. The Yazidis are located primarily in the Nineveh province of northern Iraq, and in the Al-Jazira and Kurd- Dagh areas of Syria. The sacred valley of Lalish is the centre of pilgrimage for Yazidis. Some also live in Armenia and Georgia and many have migrated to parts of Europe. Sweden has had a significant Yazidi population since 20082 and Germany since the 1970s3 Yazidis almost all speak Kurmanji, with the exception of some villages in northern Iraq where Arabic is spoken. -
Connecting Through Dance
Connecting Through Dance: The Multiplicity of Meanings of Kurdish Folk Dances in Turkey Mona Maria Nyberg Thesis submitted in partial fulfillment of the M.A. degree Department of Social Anthropology, University of Bergen Spring 2012 The front page photograph is taken by Mona Maria Nyberg at a Kurdish wedding celebration. The women who are dancing in the picture are not informants. II Acknowledgements While studying for an exam during my time as a bachelor student, I read a work by Professor Bruce Kapferer which made me reconsider my decision of not applying for the master program; I could write about dance, I realized. And now I have! The process has been challenging and intense, but well worth it. Throughout this journey I have been anything but alone on this, and the list of persons who have contributed is too long to mention. First of all I need to thank my informants. Without you this thesis could not have been written. Thank you for your help and generosity! Especially I want to thank everyone at the culture centers for allowing me do fieldwork and participate in activities. My inmost gratitude goes to two of my informants, whose names I cannot write out of reasons of anonymity - but you know who you are. I want to thank you for allowing me into your lives and making me part of your family. You have contributing to my fieldwork by helping me in in innumerous ways, being my translators – both in terms of language and culture. You have become two of my closest friends. -
Esmer (Bingöl, Turkey) Esmer Is a Kurdish Dance from the Province of Bingol in Southeastern Turkey
67 Esmer (Bingöl, Turkey) Esmer is a Kurdish dance from the province of Bingol in southeastern Turkey. Ercüment learned the dance in 1976 while in the Turkish National Ensemble and first taught it in Frankfurt, Germany in 1988. Another version was taught in the 1980s by Bora Özkök. Pronunciation: EHSS-mehr Translation: The Brunette Music: 2/4 meter Ercüment Kılıç Presents, Track 3 Formation: Line or short lines, arms overlapping, inner forearms touching, interlocked fingers twd ctr. Steps & Styling: Bouncy and relaxed. Meas 2/4 meter Pattern 1-2 INTRODUCTION. No action. Begin with melody. I. TURN AND CLAP. 1 With arms free at sides, begin 3-step CW turn moving to R stepping R, L (cts 1-2). 2 Finish the turn with step R to end facing ctr (ct 1); hold in place and clap hands to R at chest height (cts 2). 3-4 Repeat meas 1 with opp ftwk to make a CCW turn to L. At the end of meas 4, clap twice instead of once. 5-8 Repeat meas 1-4. II. BOUNCING IN PLACE. 1 With feet in inverted “T” position, L slightly fwd, sink down on heels, L slightly fwd, with bent knees (ct 1); straightening knees, bounce twice on the balls of feet (cts 2, &). 2 Repeat meas 1, but bouncing only once on ct 2. III. MOVING CCW WITH BOUNCY STEPS. Knees flex twice on each ct. 1 Moving diag R and fwd, two steps R-L(cts 1-2). 2 Step R to R (ct 1); stamp L slightly fwd (ct 2). -
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Harry Potter’s a must on London trip with teen as consultant THURSDAY, JUNE 23, 2016 39 Malaysian Muslim women pose for a picture at the Wilayah mosque during the holy month of Ramadan in Kuala Lumpur yesterday. — AFP Young Syrians get 100 pct praise at ‘Refugees Got Talent’ contest in Iraq camp elting out an emotional song in honor of Kurdish military and his family have been living at Arbat for two years. Only his school. For while some primary education is provided for chil- popular,” she said in flawless English with an accent that gave forces under a full moon, Syrian refugee Mizzgin Rumi’s brother stayed behind, choosing to fight instead of fleeing. dren up to ninth grade, it is hard for youngsters to get places in away her love of Bollywood films. “I want to be a dancer but my Bshyness transformed to confidence as he captivated his “When we left we thought we’d be coming back,” an exuberant secondary schools and universities mainly because their fami- family says I cannot because I am a girl. It was difficult to tell audience. Rumi, 19, was one of 10 acts on stage at the dusty Rumi, dressed in a smart white shirt, told the Thomson Reuters lies to not have enough money to pay for fees, supplies or them about my dancing - they said this is the last time [I can Arbat refugee camp in the semi-autonomous northern region Foundation. transport. Being locked out of education leaves many young dance] then I will dance at home.” of Iraqi Kurdistan competing in the highly-anticipated final of people bored in the camp and “Refugees Got Talent” was ABCD member and friend Amal Mohammad nodded in the talent contest “Refugees Got Talent”. -
A Conversation with Kurdish Artists About Theatre, the Dengbêj Tradition, and the First Kurdish Hamlet
ARTICLES “Acting” under Turkey’s State of Emergency: A Conversation with Kurdish Artists about Theatre, the Dengbêj Tradition, and the First Kurdish Hamlet Pieter Verstraete Although the recent coup attempt of July 15, 2016, resulted in a declared “state of emergency” in Turkey, Kurdish citizens, especially those living in the South East, have experienced what emergency legislation can do to their daily lives and cultural institutions long before (Demiröz 1990, 67) as this region was declared a permanent OHAL1 region in 1987. For example, it is quite common that special security checks or occasional curfews stifle Kurdish theatre performances, thereby limiting audience attendance. It is also standard practice that theatre practitioners across Turkey perform self-censorship in order not to be targeted by verbal attacks in the media or by closure (Siyah Bant 2012). In this essay,2 we explore what is at stake for Kurdish theatre artists who develop their theatre praxis in this difficult socio-political setting, and why it matters to act, both in the general sense and in the theatrical one, in a language that is neither the accepted one of the nation nor of the majority culture. This essay discusses interviews with five prominent Kurdish theatre artists, some based in Turkey and others currently in exile in Europe. The respondents included costume designer Ismail Oyur Tezcanlı (based in Turkey), playwright Yusuf Unay (in Turkey), actor and director Mîrza Metin (in Germany), instructor and director Rezan Aksoy (in Germany), and director Celil Toksöz (in the Netherlands, though not in exile).3 The following is explicitly not a set of interviews but a contextualized “staging” of a debate between voices in the Kurdish artist community. -
Those with Negative Views About NC Just a Handful of People, Whereas
Established 1914 Volume XV, Number 94 5th Waxing of Second Waso 1369 ME Thursday, 19 July, 2007 Those with negative views about NC just a handful of people, whereas those supporting the NC majority It is required to make thorough reviews about adopted basic principles, detailed basic principles so that all the principles are harmonious one another There should not be any difference in essence between initial aims of the principles and already-adopted detailed basic principles YANGON, 18 July— The following is the opening speech delivered by Chairman of the National Convention Convening Commission Secretary-1 of the State Peace and Development Council Lt-Gen Thein Sein at the Plenary Session of the National Convention which resumed today. Esteemed National Convention del- Esteemed delegates, egates, The Constitution is the principal law The seven-step Road Map has been of a nation to steer her political, eco- laid down and is being implemented to nomic and social systems. A Constitu- gently and smoothly carry out the tran- tion that is in conformity with the era and sition task of transforming the Union of system is the first requirement to change Myanmar into a peaceful, modern and from old to new system. A hasty change developed discipline-flourishing demo- from one system to another will trigger cratic State. It is a great pleasure for me terrible blunders that may harm the na- to have a reunion with the delegates tion. who have been striving in harmony and In this regard, the Tatmadaw gov- unison to implement the first step -— ernment has designated the emergence Chairman of National Convention Convening Commission Secretary-1 “the reconvening of the National Con- of an enduring Constitution as a national Lt-Gen Thein Sein delivers an opening address at the plenary session vention that was temporarily adjourned task and is implementing it steadfastly. -
ETHNIC DANCE in ISRAEL TODAY by Ruth Ashkenazy
ETHNIC DANCE IN ISRAEL TODAY By Ruth Ashkenazy Bet-Yossef - a co-operative village (moshav) in the Bet The rythm is vigorous and catching, and everybody wants Shean Valley, 4:00 p.m. Monday. In the "Bet. Ha'am" (a to 1earn the dance and join. To join the dance means to be- bui1ding which serves as socia1 and cu1tura1 center of the 10ng, to be part of the fami1y, a member of the community. village) the younger generation is 1earning Kurdish fo1k dances. A tape recorder p1ays the tune and a line of dan Some 1earn at the frequent festivities, weddings, Briths,etc.; cers forms, at its head Eli, the best dancer of the 10t. others ask David Menachem to teach them private1y. And David Menachem starts the tape and the youngsters stamp you don't have to ask him twice. around in something reminscent ofthe Israeli Hora. When the dance is over we sit down with David and his "They are gifted kids", says David, "they dance all the discip1es to ta1k. dances I've taught them better than 1 do. Now 1 have to teach the infants ... " The e1ementary scho01 kids envy their "Well, it is hard to dance to recorded music. So we'11 have 01der brothers, they don't want to be 1eft out. to teach the younger generation how to p1ay the zurna and the dohola. And there is the prob1em of getting new A man in his forties joins the dancers and fits in perfect1y. instruments." The oboe one may, perhaps, buy in Turkey He is f0110wed by Adina, a gir1 from America, who has been or some other country. -
ICTM Abstracts Final2
ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants.