Journal of Business and Social Development ISSN: 2289-2915 Volume 6 Number 1, March 2018: 3-14 © Penerbit UMT

UNESCO INTANGIBLE CULTURAL HERITAGE LIST: TURKEY (SENARAI WARISAN BUDAYA UNESCO YANG TIDAK KETARA: TURKI)

ÜMIT SORMAZ1*, SINAN USLU1, MUSTAFA YILMAN1 AND AYBÜKE CEYHUN SEZGIN2

1Faculty of Tourism, University of Necmettin Erbakan, Konya-Turkey. 2Faculty of Tourism, University of Gazi, Ankara-Turkey.

*Corresponding author: [email protected]

Abstract: Cultural heritage transfer is a process carried out by transferring the knowledge of individual or society based on experience from the past, both materially and spiritually, to the next generation. Today, people spend most of their time at work and the rest with mass media, so that this communication between young people and their families is decreasing. Turkey is providing the cultural values within the scope of "Protection of Intangible Cultural Heritage" which today plays a very important role and provides protection and sustainability by transferring very important cultural values in the name of Turkish nation and culture. This study is a compilation study aimed to introduce cultural values in Turkey in accordance with protection under UNESCO Intangible Cultural Heritage agreement. It explains necessity for the protection of these values in terms of tourism and the benefits for sustainability.

Keywords: Tourism, culture, UNESCO, intangible cultural heritage.

Abstrak: Pindahan warisan budaya adalah proses yang dilakukan dengan memindahkan pengetahuan tentang pengalaman individu atau masyarakat dari masa lalu secara material dan rohani kepada generasi akan datang. Pada masa kini, orang ramai menghabiskan sebahagian besar masa mereka di tempat kerja dan selebihnya dengan media sosial. Keadaan ini menyebabkan komunikasi antara orang muda dan keluarga mereka berkurangan. Turki telah termasuk dalam skop "Perlindungan Warisan Budaya Yang Tidak Ketara" yang hari ini memainkan peranan yang sangat penting dan menyediakan perlindungan dan kemampanan dengan memindahkan nilai budaya yang sangat penting dalam nama bangsa Turki dan budaya. Kajian ini adalah himpunan kajian yang bertujuan untuk memperkenalkan nilai-nilai budaya yang dilindungi di Turki menurut perjanjian perlindungan UNESCO Warisan Budaya dan menjelaskan keperluan perlindungan nilai-nilai ini dari segi pelancongan dan manfaat kemampanan.

Kata kunci: Pelancongan, budaya, UNESCO, warisan budaya.

Introduction countries. (Lakes and Carter, 2012: 108, Tezcan, Sustainability (Demir, 2015: 1), which was first 2002: 55). As a result, the local cultures around used in the 1987 report “Our Common Future”, the world have been affected negatively and the emerged against the irreversible consumption cultural heritage of the societies has faced the and disappearance of resources, with transition danger of extinction (Gürkan, 2015: 1). This has from production society to consumer society led to the need to protect cultural heritage, which in recent years. It has been the subject of has been produced and developed by people discussion and of research for tourism especially the benefit of mankind by people for centuries as globalization has open and made known to (Erkal, 2010: 1). SOKÜM (Intangible Cultural the world the intangible and abstract values of Heritage) Convention’s concept of “intangible societies. culture” and its approach to defining this area provide significant opportunities with the aim Globalization resulting in rapid interaction of preserving, maintaining and developing the among people, has affected countries cultural diversity and cultural heritage which are economically, politically and culturally and this destroyed as a result of standardization effects phenomenon is seen in underdeveloped and of globalization (Kutlu, 2009: 15). developing countries affected by developed

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UNESCO sees the intangible cultural In the living world, most of the things that heritage as an important factor in promoting are left in the past, encountered in daily life, intercultural dialogue and encouraging or are committed to the future, form a part of mutual respect for different lifestyles while the culture (Pehlivan, 2015: 1). Culture, which maintaining cultural diversity in the face of is the dimension of being an organism and increased globalization. UNESCO cares about a kind of living in the form of living, formed the intangible cultural heritage in the context and has been changed into internal and external of ensuring intercultural interaction in a healthy environments. It is described as a social order, as way, ensuring an environment of tolerance for a direct or indirect product comprising an entire different cultures and promoting and preserving lifestyle on all layers of “cultural activity” such cultural diversity. as language, artistic styles, forms of intellectual work, and primarily shaped by other social activities (Raymond, 1981; Ültanır, 2003, 18). Literature Search Culture, also referred to as the “community The initial use of the word “culture” was related of learned behaviors,” is not all hereditary and to agriculture whose first use is known to be instinctive, but all the habits that each person related to agriculture, it is derived from the has gained in life after birth (Kubat, 2013: 20). word “edere-cultura” in the sense of describing Scientists acknowledge that a culture is a whole soil cultures in Latin (Mejuyev, 1987: 2). The of material and spiritual values of a society and word “cultura”, supposed to be derived from the at the same time they are definding culture is a word “colere”, means to preserve, to reside and whole with all kinds of information, interests, cultivate Latin, has begun to be used as a “value habits, values, general attitudes, opinions, of human capacity”. The concept was observed thoughts and all forms of behavior available in 1843 as “the human community’s talents and in the society (Turhan, 1994: 25). From this abilities, arts and traditions” and has acquired point of view, the factors that bring culture to the meaning of “ability to live together” the genre are shown as material and spiritual (Williams, 2005: 107; Uygur and Baykan, elements (Table 1) (Karaaslan, 2017: 7). 2007: 32; Türker and Çelik, 2012: 88; Bingol, 2010: 12). The most obvious change observed in the historical developmental process in the Cultural Heritage concept of culture is the concrete use of the Cultural heritage is called “the whole collection concept acquires, over time, an abstract content of humanity that people live, accumulate, parallel to the development of the human thought develop, enrich and sustain in all their time over time (Oğuz, 2011: 137). periods and convey to their followers” (Artun, 2008: 454). The cultural heritage

Table 1: Material and Spiritual Elements of Culture

Material Elements Spiritual Elements

Objective Subjektive Produced, developed products by culture The way people and / or a group of people “The visible part of the iceberg” interpret events, facts “The unvisible part of the iceberg”

Visible, learnable Confidential, mostly solitary elements

Art, Literature, Theater, Music, Clothing, Ideas, Views, Behaviors Ideals, Norms, Language, Architecture, History, Climate, Values, Beliefs, Habits Geography, Food

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which gives concrete information about the more closely related to those who created it. communities living in different periods and Globalization’s one-of-a-kind (unchanging) their social, cultural, economic and political politics, lack of grants and lack of understanding life is defined as the works and expressions of endanger many of the tangible cultural heritage human communication and behavior that are items (Georgiev and Terziyska, 2013: 1281). inherited from the past generations and need Factors which created cultural heritage and to be preserved for both individual and societal their constituent elements are shown in Table 2 significance (Madran and Özgönül, 2005: 73; (Arslan and Ardemagni, 2006: 9). Hereduc, 2005: 12). The protection of cultural heritage and the development of love and respect The Importance of Cultural Heritage in Tourism attitudes towards intercultural differences are Globalization is a rapidly increasing trend in also important requirements of world peace (Ar, the world and many of the societies’ values 2015: 12). have spread beyond the national borders and It is preserving its existence through spread around the world and have affected many continuity and transfer which makes culture areas, especially the political, social, economic valuable. Because of the cross-generation and cultural fields (Ergin, 1986: 31). Cultural transfer of culture from generation to generation, heritage transfer is a process that has been it is called heritage (Cakir, 2010: 34). The most carried out by transferring the accumulation of important factor that makes cultural heritage knowledge that the individual or society has important is the value society gives to it (Pearson amassed from the past based on experience, and Sullivan, 1995: 33). Cultural heritage is both materially and spiritually. Difficulties examined under two basic headings as tangible faced by factors that keep this process active are and non-tangible cultural heritage (Ahmad, causing it to slow down or even disappear but 2006: 298, Çengelci, 2012: 187) (Figure 1). we confront it with a quick process as a result of The tangible elements of cultural heritage the fact that the plans for protecting these values can be carried on even after the people who are not developed and are not violated and the created them have gone. The transfer of participation of young people and society is not cultural heritage is often done orally, it is much ensured (Altunsabak, 2016: 5).

Figure 1: Cultural Heritage Types

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Table 2: Factors created cultural heritage and their constituent elements

CULTURAL HERITAGE

INTANGIBLE CULTURAL TANGIBLE CULTURAL HERITAGE HERITAGE

Unportable Cultural Heritage Portable Cultural Heritage Music Folk Dances Architectural Works Pictures Theater Monuments Sculptures Literature Archaeological Sites Library Works Oral Traditions Historic Centers Archives Ceremonies, Feasts Building Groups Jewelery and Ornaments Traditions Cultural Landscapes Old Moneys Customs Historical Parks, Gardens Daily Products Handicraft Tradition Channels, Bridges Musical instruments Traditional Games etc. Windmills etc.. Photos etc.

Tourists are able to experience different Intangible Cultural Heritage cultural practices that they are not accustomed Intangible Cultural Heritage Protection to when they encounter them at the destinations. Convention face appears as inventories at the The intangible cultural heritage elements that national level, while in the international arena reflect the national identity and the way of are lists. Inventories which are on land within life of the community can attract tourists with the limits, which was dominated in each country interesting and diverse structures. The ability living, a group of people by based on criteria of to sustain the existence of intangible cultural sustainable ICH elements to be recorded, such heritage elements as tourist products in a healthy as taking the necessary measures for identifying way is a very important issue in of ensuring and maintaining the protection process cultural sustainability in tourism (Ar, 2015: 32- involving a number of processes (Oğuz, 2013: 34). 123). Could it be this? Inventories are dominant The Importance of Cultural Heritage in Turkey in each country o how a group of people live Tourism based on criteria of sustainable of ICH elements. The following basic criteria should be taken into Turkey has a great potential for cultural tourism consideration in the creation of the National and is very rich in terms of historical and cultural Inventory of Intangible Cultural Heritage heritage. Thus protecting the cultural heritage of (aregem.kulturturizm.gov.tr); the Turkish community plays an is important in cultural heritage preservation (Uygur and * Value as a proof of human creativity Baykan, 2007: 46). * Rootedness in cultural and social traditions * A representative of the specified community When it is considered that more demanding or group generates more supply in Turkey tourism, * Risk of disappearing the unplanned presentation of many cultural heritages leads to the loss of these particular The five dimensions are determined in the intangible cultural heritage elements for the use protection convention of intangible cultural of the tourists (Türker and Çelik, 2012). heritage (2003) are (Gürkan, 2015:21): a) Oral traditions and expressions with the language as a carrier in the transfer function of the intangible cultural heritage

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b) Social practices, rituals and festive events * Geleneksel Çini Ustalığı/ Traditional d) Knowledge and practices about nature and Craftsmanship of Çini-Making 2016 the universe, and * İnce Ekmek Yapma ve Paylaşma Kültürü: e) Crafts tradition Lavaş, Katırma, Yufka/ Flatbread Making and Sharing Culture: Lavash, Katyrma, Turkey within the UNESCO Intangible Jupka, Yufka (2016) Cultural Heritage The Art of the Meddah: The most Turkey was involved in UNESCO’s process important element of ‘‘meddah’’ described as with No. 5448 “Law on the appropriate location an art of telling the stories which means that of the Intangible Cultural Heritage Protection the artists entertain people by telling several Agreement” in 2006 and from March 27, 2006. stories and doing imitations for the audience. A The Ministry of Culture and Tourism, according storyteller is seated on a chair while performing to Law No. 4848 of Article 13 of the Law on the art, wand (Pastavia) and wipes (macramé) the Organization and Duties of the Research and is engaged in the story using animation and Education works as the General Directorate of parodies as accessories. Wand can be used to executive departments. Culture and Tourism draw the attention of the audience and described Ministry, through provincial directorates, is in the game as a sound effect to strengthen the preparing a list of potential ICH elements, expression and also used for the representation and each year they are selected from results of objects and living things. Wipes are used to of examination of Research and Education change the voice or play the role of variety of Headquarters. The lists are presented to characters. There are historical records and have UNESCO for the protection of cultural heritage symbolic meaning of these items used in the elements. games, for meddah tradition (Picture 1). Elements of the Representation of Turkey’s Intangible Cultural Heritage of Humanity List (UNESCO, 2017): * Meddahlık/ The Art of the Meddah (2008) * Mevlevi Sema Törenleri/ Mevlevi Sema Ceremony (2008) * Karagöz/ Karagöz (2009) * Nevruz/ Nevruz (Multinational File with Azerbaijan, India, Iran, Kyrgyzstan, Pakistan, Uzbekistan and Turkey) (2009) Picture 1: The art of the meddah (Feature, 2017) * Geleneksel Sohbet Toplantılar/ Traditional Meddah Tradition was listed in the Sohbet Meetings (2010) Masterpieces of Oral and Intangible Cultural * Kırkpınar Yağlı Güreş Festivali/ Kırkpınar Heritage of Humanity in 2003, and taken into Oil Wrestling Festival (2010) UNESCO’s Intangible Cultural Heritage of * Alevi-Bektaşi Ritüeli Semah/ Semah, Humanity Representative List in 2008 (Türker Alevi- Bektaşi Ritual (2010) and Çelik, 2012: 91; Ar, 2015: 18; Pehlivan, * Geleneksel Tören Keşkeği Geleneği/ 2015: 19; Aragem, 2017). Ceremonial Keşkek Tradition (2011) * Mesir Macunu Festivali/ Mesir Macunu Mevlevi Sema Ceremony: Sema; It Festival (2012) symbolizes the different stages of the way to * Türk Kahvesi Kültürü ve Geleneği/ Turkish reach Allah. The themes of religious in nature. Coffee Culture and Tradition (2013) This is described as hosting a ceremony with * Ebru: Türk Kâğıt Süsleme Sanatı/ Ebru: detailed rules and qualifications in this state. Turkish Art of Marbling (2014) Traditional Mevlevi music accompanies the

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Sema Ceremony and this is how Mevlevi culture stories and reads poetry and plays instrument can be conveyed and spread. The ceremony has “aşık”. mystical symbols and meanings at different In Anatolia cultural memory, it is an parts expressing unity with each other. During important expression of the cultural diversity the time of Rumi Jalaluddin Rumi (d. Dec. 17, and richness. Minstrelsy is a versatile art that 1273), this special Mevlevi ceremony was done shaped through the centuries till today which without being tied to a certain rule but in the includes poetry, music and storytelling. One of time of Grand Arif Çelebi Sultan Veled, it was the important aspect of the minstrelsy, based conducted in a disciplined manner. These rules its own tradition and application, is the ability developed in Pir Adil Celebi’s time and have to live and look at the lifestyle of the period, been shaped since then. reflecting on the ethical and aesthetic values and In Semâ ceremony salute section consists catering to the masses (Picture 3). of four parts: 1. salute, comprehend the man’s servitude; 2. salute, admire the power of Allah; 3. salute, the conversion of love of admiration across power; 4. salute, describes his return to serve the servitude. The ceremony ends with recitation of the Koran and prayers.

Picture 3: Âşıklık (Minstrelsy) Tradition (Aragem, 2017) Minstrelsy tradition, as of 2009, is registered with UNESCO’s Non-Tangible Cultural Heritage of Humanity Representative Picture 2: Mevlevi Sema Ceremony (Konyakutup, List (Türker and Çelik, 2012: 91; Ar, 2015: 18; 2017) Pehlivan, 2015: 19; Aragem, 2017). Sema Ceremony, proclaimed as Masterpieces of the Verbal and Non-Tangible Karagöz: The game that Turks take Cultural Heritage of Humanity of UNESCO’s advantage of the shade to shade technique Masterpieces in the framework of the Program to develop and play according to their own in 2005, has been registered in 2008 to the understanding of art and aesthetics is called UNESCO Representative List of the Intangible Karagoz. Karagöz is a shadow based on the Cultural Heritage of Humanity on behalf of our principle of moving people, animals or objects country introduced all over the world (Türker stuck in the bars made of camel or buffalo and Çelik, 2012: 91; Ar, 2015: 18; Pehlivan, leather, called “tasvir” with lights behind the big 2015: 19; Aragem, 2017). screen. The main characters of the Karagöz are Karagöz and Hacivat (Picture 4). Âşıklık (Minstrelsy) Tradition: Minstrelsy tradition is an art that requires one to master the Turkish subtleties and training is through learned master-apprentice relationship. In Anatolia minstrel tradition, the traveler poet, who tells

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Nevruz is registered Non-Tangible Cultural Heritage of Humanity Representative List by Turkey in 2009 (Türker and Çelik, 2012: 91; Ar, 2015: 18; Pehlivan, 2015: 19; Aragem, 2017). Traditional Sohbet Meetings: These are traditional but seasonal meetings held which are attended by men only and are held during the winter months and these gatherings assisted in strengthening social affinities and solidarity. The days for the meeting are Thursday, Friday Picture 4: Karagöz (Aragem, 2017) or Saturday and would start in the evening till Karagöz is registered in the Non-Tangible midnight or beyond. Every member is expected Cultural Heritage of Humanity Representative to come and leave on time. The primary purpose List by Turkey in 2009 (Türker and Çelik, 2012: of such meetings is to have conversatins and 91; Ar, 2015: 18; Pehlivan, 2015: 19; Aragem, fun outside of work. It is used as a platform to 2017). preserve their oral traditional and sustain their Nevruz: The word Nevruz is a combination commonalities in their culture and values that of two Persian words, ‘nev’ (new) and ‘ruz’ have to be passed on to the future generations (day) and the meaning is ‘yeningun’. It is the and to cultivate a sense of respect and support New Year celebrated by Turks living in Central especially in the younger generations. Sohbat Asia, Turks and Iranians. The nomad and topics could extend to include topics in politics, farming communities adopts this day as the economy, society and health. These meetings onset of the farming activities and it is also a have important contribution to keep alive ceremony of abundance for the latter. Nevruz and pass the Non-Tangible Cultural Heritage sets up a favorable environment in which mane and cultivate a sense of respect and support applications using the information concerning especially to our young generations. (Picture 6). the universe and nature are done they have to live in abundance and blessings. It also increases the sense of belonging among people and communities by strengthening social cohesion as well (Picture 5).

Picture 6: Traditional Sohbet Meetings (Aragem, 2017) Traditional Sohbet Meetings is registered to UNESCO’s Non-Tangible Cultural Heritage of Humanity Representative List by Turkey in 2010 (Türker and Çelik, 2012: 91; Ar, 2015: 18; Pehlivan, 2015: 19; Aragem, 2017).

Picture 5: Nevruz (Aragem, 2017) Kırkpınar Oil Wrestling Festival: This started in Rumelia in the 14th century until

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today now (648 years). It is one of the world’s oldest festivals. Two people wrest with each other within a delineated area without tools and equipment but with rules and time limit. It is a physical and mental fight. Kırkpınar Oil Wrestling contains many rituals. It is usually held at the end of June. The festival begins on Friday with a recitation of prayers for wrestlers and the wrestling is done on the lawn. The winner takes the Baspehlivan title and gold belt, a prestigious award for a year. Wrestlers who have Baspehlivan for Picture 8: Semah, Alevi- Bektaşi Ritual (Aragem, three consecutive years will have the gold belt 2017) (Picture 7). Semah, Alevi- Bektaşi Ritual has registered to UNESCO’s Non-Tangible Cultural Heritage of Humanity Representative List since 2010 (Türker and Çelik, 2012: 91; Ar, 2015: 18; Pehlivan, 2015: 19; Aragem, 2017). Traditional Keşkek Tradition: Kesek is a dish prepared and served during certain ceremonies such as wedding ceremonies and feasts and it is prepared collectively by both the menfolk and the ladies. It is made of wheat and meat cooked together in big boilers. The young learn to cook this dish from the master cooks. Picture 7: Kırkpınar Oil Wrestling Festival (Aragem, 2017) Traditional Keşkek Tradition has registered Kırkpınar Oil Wrestling was as registered to UNESCO’s Non-Tangible Cultural Heritage in UNESCO’s Non-Tangible Cultural Heritage of Humanity Representative List since 2011 of Humanity Representative List by Turkey in (Türker and Çelik, 2012: 91; Ar, 2015: 18; 2010 (Türker and Çelik, 2012: 91; Ar, 2015: 18; Pehlivan, 2015: 19; Aragem, 2017) (Picture 9). Pehlivan, 2015: 19; Aragem, 2017). Semah, Alevi- Bektaşi Ritual: The followers of Alevi-Bektasi have twelve services of the Cem rituals and Semah is one of them. They are defined as a set of mystical and aesthetic movements executed by semah dancers and accompanied by the zakir, the musical performers. In mant parts of Turkey semah is performed but takes on different names such as zemah, samah, Semag, zamaha. In terms of music and rhythm structure of whirling, it is possible to encounter different ways of doing the semah, even if the name is the same. The Picture 9: Traditional Keşkek Tradition (Aragem, 2017) presence of these differences in the term or the melody indicates the richness of the culture of whirling dervish (Picture 8).

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Mesir Paste Festival: Mesir paste festival dates back to about 470 years and originated in Manisa City. This festival includes mane traditional activities and is known and adopted by communities in other parts of Tukey. It is based on a story about sharing of the paste, originally regarded as a medicine. Now it is part of the local cultural tradition (Picture 10).

Picture 11: Turkish Coffee Culture and Tradition (UNESCO, 2017) Turkish coffee culture and tradition was registered on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity behalf of Turkey in 2013 (Aragem, 2017; UNESCO, 2017). Ebru; Turkish Art of Marbling: Ebru is Picture 10: Mesir Paste Festival (UNESCO, 2017) the traditional art of creating colorful patterns by Mesir Paste Festival is registered to sprinkling and brushing color pigments on a pan UNESCO’s Non-Tangible Cultural Heritage of oily water and then transforming this pattern of Humanity Representative List as name for to a special paper. It has been a traditional art for Turkey in 2012 (Türker and Çelik, 2012: 91; Ar, making book enriching calligraphy and binding 2015: 18; Pehlivan, 2015: 19; Aragem, 2017). books for many centuries. In the 13th century, the Turkish Coffee Culture and Tradition: first forms of Ebru emerged in Central Asia and Turkish coffee culture and tradition go back to spread to Anatolia. During the Ottoman period, the 16th century when coffee started to be served Turkish calligraphers and artists created new at coffeehouses in Istanbul. The tradition has forms and perfected the techniques. two distinguishable aspects which make its taste Ebru is an art which consists of certain unique and is a means toward socialization. patterns and effects in the production, by means As a beverage Turkish coffee carries special of colors contain a few drops of ox-gall (a kind preparation and brewing techniques. It is one of of natural acid) which is sprinkled onto the the oldest coffee making methods still in use. water mixed kitre (kind of herbal gum), and then The traditional techniques used in preparing to float on the preparation of condensed liquid. coffee led to the development of special tools and Patterns would be formed on the surface of the silverware such as the boiling pot (cezve), coffee liquid and are taken off by laying a sheet of cup (fincan) and mortars which have artistic paper (Picture 12). value. Turkish Coffee leaves a long lasting taste on someone’s palate due to its preparation techniques which require time and freshness is important. It is softer, more aromatic and more concentrated than other types of coffee. It is easy to distinguish from other coffees with its aroma, ground and foam peculiar to it (Picture 11).

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Flatbread Making and Sharing Culture; Lavash, Katyrma, Jupka, Yufka: The preparation of flat bread involves traditional practices based on collective labor and sharing. As an indication of social solidarity in rural areas, each family prepare and cook their breads together with the help of their neighbors. Traditionally, flatbread is cooked at home by family members, in restaurants and bakeries by flatbread masters, who learn their trade through a master-apprentice relationship. In addition to Picture 12: Ebru; Turkish Art of Marbling (Aragem, their daily preparation and consumption, these 2017) breads are also prepared for special occasions and ceremonies such as holidays, weddings Ebru; Turkish Art of Marbling was and funerals. On such special days, the people registered on UNESCO’s Representative List who will participate in the collective making of the Intangible Cultural Heritage of Humanity of flatbread, bring their own flour and tools on behalf of Turkey in 2014 (Aragem, 2017; with her to show social solidarity (Picture 14) UNESCO, 2017). (Aragem, 2017; UNESCO, 2017). Traditional Craftsmanship of Çini- Making: From the 12th century, craftsmen had made glazed tiles ceramic household stuffs and wallboards of several colors and motifs by firing the pulped clay soil called “cini”. It is a traditional Turkish art where the craftsmanship shaped around this Turkish traditional art with its own specific production and adornment techniques like “minai”, “luster”, “polishing”, “underglaze” and the design embellished reflect the beliefs and customs of the locals. People in cini maing have used “underglaze Picture 14: Flatbread Making and Sharing Culture; technique” since 16th century. They prepare Lavash, Katyrma, Jupka, Yufka (Aragem, 2017) using their traditional production knowledge about nature. İn this method clay is pulped Result and Suggestions (Picture 13) (Aragem, 2017; UNESCO, 2017). Now tourists would like to go to places of natural beauty, try regional food/dishes and take part in traditional activities. If the traditional intangible cultural heritage is well maintained protected and practiced, the number of tourist visiting these places and experiencing tradition and culture will increase. Turkey’s own historic and cultural heritages play an important role in cultural tourism. Protecting the heritage is deemed important for tourist who have chosen this country to Picture 13: Traditional Craftsmanship of Çini- visit and for generations to come. Turkey has Making (Aragem, 2017)

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more cultural worth that can be extended to Demir, E. S. (2015). Türkiye’de Somut Olmayan UNESCO’s Intangible Cultural Heritage. Kültürel Mirasın Ekoturizm Bağlamında Değerlendirilmesi, Gazi Üniversitesi, Sosyal Bilimler Enstitüsü, Türk Halk Bilimi References Anabilim Dalı, Türk Halk Bilimi Bilim ARAGEM (2017). Araştırma ve Eğitim Genel Dalı, Yüksek Lisans Tezi, Ankara. Müdürlüğü, Retrieved on March 21, 2017 Derman, M. U. (1994). Ebru maddesi. İslam from aragem.kulturturizm.gov.tr Ansiklopedisi, c: X: 80–82. Altunsabak, E. (2016). Somut Olmayan Kültürel Ergin, M. (1986). Üniversiteler İçin Türk Dili, Mirasın Kuşaktan Kuşağa Aktarımı ve Boğaziçi Yayınları; İstanbul. Gençlik; Kars İli Örneği, Gazi Üniversitesi, Sosyal Bilimler Enstitüsü, Türk Halk Erkal, H. (2010). UNESCO yaşayan insan Bilimi Anabilim Dalı, Yüksek Lisans Tezi, hazineleri ulusal sistemlerinin somut Ankara. olmayan kültürel mirasın korunmasındaki etkileri üzerine ulusal sistemler Artun, E. (2002). Küreselleşmenin Geleneksel analizi. Kültür ve Turizm Bakanlığı Türk Halk Kültürüne Etkisi. VI. Araştırma ve Eğitim Genel Müdürlüğü, Milletlerarası Halk Kültürü Kongresi Ankara. Küreselleşme ve Geleneksel Kültür Seksiyon Bildirileri, s. 6–7. Feature. (2017). The Art of the Meddah: Traditional Turkish storytelling Retrieved Aslan, Z., & Ardemagni, M. (2006). Introducing on March 21, 2017 from https://www. young people to the protection of heritage dailysabah.com/feature/2016/04/08/the-art- sites and historic sites.http://www. of-the-meddah-traditional-turkish- iccrom.org/ifrcdn/pdf/ICCROM_09_ storytelling ManualSchoolTeachers_en.pdf Gümüş, N., & Adanalı, R. (2011). The Attitude Ar, H. (2015). Somut Olmayan Kültürel Mirasın and Behavior of Students in High School Korunmasında Turist Rehberlerinin Rolü, Towards Historical and Cultural Heritage Balıkesir Üniversitesi, Sosyal Bilimler in Buca (İzmir). Buca Eğitim Fakültesi Enstitüsü, Turizm İşletmeciliği ve Otelcilik Dergisi. 30: 87–102. Anabilim Dalı, Yüksek Lisans Tezi, Balıkesir. Gürkan, B. (2015). Sosyal Bilgiler Ders Kitaplarının Somut Olmayan Kültürel Begiç, H. N. (2015). UNESCO Dünya Kültürel Miras Açısından İncelenmesi, Çukurova Miras Listesinde Yer Alan Geleneksel Türk Üniversitesi, Sosyal Bilimler Enstitüsü, Ebru Sanatı’nda Yeni Yorumlar, Türkiyat İlköğretim Anabilim Dalı, Yüksek Lisans Araştırmaları Dergisi, 37: 587–605. Tezi, Adana. Bingöl, C. (2010). Kültürler Arası İletişim Hattox, S. R. (1998). Kahve ve Kahvehaneler, Sürecinde Kültür, Kültürel Kimlikler Ve Bir Toplumsal İçeceğin Yakındoğu’daki Çeviri İlişkisi, Muğla Üniversitesi, Sosyal Kökenleri, İstanbul: Tarih Vakfı Yurt Bilimler Enstitüsü, Mütercim Yayınları. Tercümanlık Anabilim Dalı, Yüksek Lisans Tezi, Muğla. Hereduc. (2005). Heritage in the Classroom: A Practical Manuel for Teachers. Retrieved on Çakır Ş. C. (2010). Somut Olmayan Kültürel March 21, 2017 from http://www.hereduc. Mirasın Müzelenmesi. Gazi Üniversitesi net/hereduc/. Sosyal Bilimler Enstitüsü, Yayınlanmamış Yüksek Lisans Tezi, Ankara: Gazi Karaaslan, Y. (2017). Türkiye’de Faaliyet Üniversitesi. Gösteren Yabancı Firmalarda Çalışan Türk

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Yöneticilerin Kültürel Farklılık Algıları, Administrators. Melbourne: Melbourne Beykent Üniversitesi, Sosyal Bilimler University Press. Enstitüsü, İşletme Yönetimi Anabilim Dalı, Pehlivan, A. (2015). Açık ve Örgün Eğitim Yüksek Lisans Tezi, İstanbul. Sosyal Bilgiler Ders Kitapları ve Öğretim Konyakutup. (2017). Konya İl Halk Kütüphanesi, Programında Somut Olmayan Kültürel Semâ ve Semazenler, Retrieved on March Mirasın Ögelerinin İncelenmesi, Anadolu 21, 2017 from http://www.konyakutup.gov. Üniversitesi, Eğitim Bilimleri Enstitüsü, tr/TR,144018/sema-ve-semazenler.html İlköğretim Anabilim Dalı, Sosyal Bilgiler Kubat, U. (2013). Çift Kültürlülerde Öğretmenliği, Yüksek Lisans Tezi, Kültürleşme, Kültürel Açıdan Simgesel Eskişehir. Markalar Ve Marka Tutumu Arasındaki Tezcan, M. (2002). Küreselleşmenin Eğitim İlişkinin İncelenmesinde Reklam Dilinin Boyutu. Eğitim Araştırmaları Dergisi, 6: Rolü, Akdeniz Üniversitesi Sosyal Bilimler 56–60. Enstitüsü,Doktora Tezi, Antalya. Turhan, M. (1994). Kültür Değişmeleri (Sosyal Kutlu, M. (2009). Somut Olmayan Kültürel Psikoloji Bakımından Bir Teknik). İstanbul: Mirasın Korunmasında Eğitime Yönelik İlk Marmara Üniversitesi İlahiyat Fakültesi Adım: Halk Kültürü Dersi. Milli Folklor Vakfı Yayınları. Dergisi, 21(82): 13–18. Türker, A., & Çelik, İ. (2012). Somut Olmayan Lakes, R. D., & Carter, P. A. (2012). Kültürel Miras Unsurlarının Turistik Ürün Neoliberalism and Education: An Olarak Geliştirilmesine Yönelik Alternatif Introduction. Educational Studies. A Öneriler, Yeni Fikir, 9: 86–98. Journal of the American Educational Ulusoy, K. (2011). Türk Toplum Hayatında Studies Association, 47(2): 107–110. Yaşatılan Kahve ve Kahvehane Kültürü, Madran, E., & Özgönül, N. (2005). Kültürel Bir Sözlü Kültür ve Sosyal Çevre Eğitimi ve Doğal Değerlerin Korunması. Ankara: Çalışması, Milli Folklor, 23(89): 159–169. TMMOB Mimarlar Odası, s. 73. UNESCO (2017). Culture, Intangible Mejuyev, V. (1987). Kültür ve Tarih. (S. H. Heritage, Retrieved on March 21, 2017 Yokova, Çev.). Ankara: Başak Yayınları. from http://www.unesco.org/archives/ Oğuz, E. S. (2011). Toplum Bilimlerinde Kültür multimedia/?pg=33&s=films_details&id= Kavramı, Hacettepe Üniversitesi Edebiyat 640 Fakültesi Dergisi, 28(2): 123–139. Uygur, M. S., & Baykan, E. (2007). Kültür Oğuz, Ö. M. (2013). Somut Olmayan Kültürel Turizmi ve Turizmin Kültürel Varlıklar Miras Nedir?. Ankara: Geleneksel Üzerindeki Etkileri, Ticaret ve Turizm Yayıncılık, s. 7–65. Eğitim Fakültesi Dergisi, 2: 30–49 Öztürk, Y., & Yazıcıoğlu İ. (2002). Gelişmekte Ültanır, G. (2003). Eğitim ve Kültür İlişkisi Olan Ülkeler İçin Alternatif Turizm Eğitimde Kültürün Hangi Boyutlarının Faaliyetleri Üzerine Teorik Bir Çalışma, Genç Kuşaklara Aktarılacağı Kaygısı. Gazi Gazi Üniversitesi Ticaret Ve Turizm Eğitim Eğitim Fakültesi Dergisi, 291–309. Fakültesi Dergisi, (2): 183–195. Williams, R. (2005). Anahtar Sözcükler: Kültür Pearson, M., & Sullivan, S. (1995). Looking ve Toplumun Sözvarlığı (Çev. S. Kılıç). After Heritage Places: The Basic of Heritage İstanbul: İletişim Yayınları. Planning for Managers, Landowners and

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