SONDAGE IPSOS SUR LA TURQUİE

L’image de la destination Turquie auprès des Français

20 déc. 2013 - 

Près de 9 touristes français sur 10 qui sont allés en Turquie deviennent des ambassadeurs de la destination... 86 % recommandent la Turquie à leurs proches

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La Turquie, une destination déjà visitée par près d’un Français sur quatre

• 17% des Français disent s’être déjà rendus en Turquie au cours des 10 dernières années.
• En termes de potentiel, la Turquie est une destination qui tente près de 4 Français sur 10 (37%)
• Les Français estiment que la destination a de réels atouts dont son ensoleillement, son climat (86%), ses sites culturels et historiques (79%), son rapport qualité/prix (79%), le dépaysement qu’elle propose (79%), sa richesse culturelle (78%), l’accueil (65%), les stations balnéaires (66%) ou encore la proximité géographique avec la France (64%), le sens de l’hospitalité des habitants (62%) et la qualité de l’hébergement (58%).

Un séjour réellement apprécié par les touristes qui s’y sont déjà rendus…

• Plus de 8 personnes sur 10 qui sont déjà allés en Turquie déclarent avoir une bonne image du pays (81%)
• Les touristes français gardent un très bon souvenir de leur séjour en Turquie. Près de 6 voyageurs sur 10 (56%) lui attribuent une note entre 8 et 10.
• Un séjour qui le plus souvent les a agréablement surpris (41% disent que c’était mieux que ce qu’ils avaient imaginé) ou qui était conforme à leurs attentes (51%). Seuls 8% disent avoir été déçus.
• Plus de 8 touristes sur dix étant déjà allé en Turquie disent qu’ils souhaiteraient y retourner (83%).
• Ils apprécient particulièrement le rapport qualité/prix de la destination  (76%), sa richesse culturelle (75%), l’accueil (65%), l’intérêt des stations balnéaires (61%) ou encore la diversité des activités proposées (60%) et la qualité de l’hébergement (56%).
• Pour les touristes français, la destination est attractive en raison de la diversité et du nombre de sites à visiter : ils ont en moyenne visité plus de deux régions dont Istanbul (53%), Antalya et l’ouest de la côte Méditerranée (38%), la Cappadoce (32%) ou encore Izmir et le nord de la côte Egéenne (29%).

le Musée de Valence se distingue.... honteusement

Chers Amis Citoyens Valentinois et Drômois,

 Tout en adhérant aux 5 objectifs présentés par Mr. Nicolas DARAGON dans son projet pour le nouveau MUSEE de VALENCE, et en reconnaissant la nécessité qu'il y avait à sa rénovation, en tant qu'Artiste-Peintre Indépendant très longtemps Valentinois (encore de coeur et à jamais), je ne peux hélas ! qu'être amené à faire quelques observations objectives

que tout Citoyen peut vérifier.

  Depuis 1/2 siècle, exceptées celles de Mrs CATHELIN, BONCOMPAIN, et quelques autres Artistesfavoris, aucune oeuvre d'Artistes du terroir n'est reconnue, collectée, acquise officiellement pour constituer notre patrimoine commun, notre mémoire artistique valentinoise à TOUS .

 Les Artistes Indépendants locaux se sentent, à juste titre, exclus de la communauté, considérés comme des PARIAS, pas même invités à l'inauguration du nouveau Musée par Mr. Alain MAURICE et son équipe de Technocrates, qui divisent les Citoyens Valentinois en Castes, abiment la mémoire artistique collective de VALENCE, l'amputent, la nient, ou la travestissent de leur "pensée unique", alimentant ainsi le désamour, dramatiquement grandissant dans notre pays, des Citoyens pour toute la classe politique professionnelle.

 Pourquoi les Artistes-Peintres VALENTINOIS et Drômois ; Jean-Yves RIFFARD, Christine BRANDEN, Anne BADY, Philippe ARBESSIER, Jean FOISSEY-MOULIN, René GAU, SAUSSAC, Jean RENAULT, Marcel BOULANGER, René BOURNA, ALBE MONIER, Martine FOURNIER, Jean-Hermann DEMONFAUCON, Rémy PONSONNET, Martine SAUSSE, Jean-Louis VIDIL, Alain LOCOLAS, Roland SALTI, Jean-Michel REZELMAN, Antoine BELEKIAN, POUCHAIN, JOFFRE, Brigitte ANATER, Patrick RAUZIER, René STEINMANN, Robert DELAYE, REVEILLARD, Philippe BROZILLE, Gérard ZILBERMAN, Marcel JUGUET, Jacques et Marc CHAMBRIER, Robert POULHE, ALIN, Sylvie DE BANCK, Marillac PONTIER, Cécile DE BOURNET, Odette SIAUD, Patricia MONCHAL, GAEL,Marc WALLEYRAND, BARBARA, Bernard REBATET ...    moi-même et des dizaines d'autres Artistes Indépendants qui ont animé la vie locale par leurs EXPOS pendant des décennies n'ont-ils la moindre oeuvre au MUSEE de LEUR VILLE ? PAS LA MOINDRE ! Sont-ils des Citoyens de seconde zone ? des ARTISTES MINEURS ? ou pas "dans les papiers" des décideurs ?

alors que des millions d'euros ( nos impots ) vont dans le béton, le fonctionnement du nouveau  Musée, les salaires etc ...  pas 1 seul KOPECK, pas la moindre miette pour acquérir les Oeuvres des ARTISTES INDEPENDANTS de notre TERROIR ? Ces Artistes pour qui les musées existent, ceux-là même qui font l'ART et que tous les Citoyens Valentinois (et plus) connaissent, cotoient, Aiment ! EUX et leurs OEUVRES ? le MUSEE de VALENCE est aussi LE LEUR , le NOTRE ! le MUSEE DE VALENCE n'est pas un "BUNKER à TECHNOCRATES tout puissants" la propriété, le TERRAIN DE JEU de ces Nouveaux Seigneurs de NOTRE REPUBLIQUE qui n'ont jamais touché ni crayon , ni pinceau de toute leur vie, 

 et qui n'en toucheront sans doute jamais ... 

  Veulent-ils que la VILLE de VALENCE rejoigne celle d'AIX EN PROVENCE sans la moindre oeuvre de Paul CEZANNE dans ses murs ? celle d'ARLES qui, déshonnorée de n'avoir retenu aucune oeuvre de VINCENT VAN GOGH, lui batit aujourd'hui une FONDATION fastueuse 1 siècle et demi après sa mort ?

  D'autres parts ; les Institutions Culturelles françaises (les NOTRES aussi ce me semble !) qui quadrillent notre pays (FRAC, DRAC etc ...) depuis plus de 30 ans font exactement la même POLITIQUE de valorisation et de collection (avec nos sous) que celle de Mr Alain MAURICE et de son équipe culturelle : une "POLITIQUE D'APARTHEID" où seuls les "produits" des représentants de l'ART D'ETAT, le triste ART baptisé pompeusement "CONCEPTUEL" devenu ART POMPIER, que refusent et fuient 90% des Citoyens, tant il est parfois GROTESQUE, provocateur, ridicule, insensé, trouvent PLACE dans ces "chapelles à technocrates" vides de CITOYENS .

 J'adhérerai totalement au PROJET de Mr Nicolas DARAGON, comme beaucoup d'autres Citoyens de VALENCE, je le crois, le jour où NOTRE DEMOCRATIE, NOTRE République s'ouvrira enfin !, comme elle doit le faire, à TOUS LES CITOYENS de la vie civile QUI OEUVRENT POUR LE RENOM DE NOTRE VILLE, qu'ils soient simples Citoyens, Enseignants, Artistes, Scientifiques, Chefs d'Entreprise, Sportifs, Bénévoles etc ...  le jour où on ne traitera plus de "POPULISTES" comme l'a écrit Mr Alain MAURICE à mon égard, ceux d'entre nous qui vivent, subissent et clament tout haut les VERITES criardes qui dérangent notre temps .

  

  Amitiés et Pensées Fraternelles à tous les  Valentinois et Drômois

  "vive l'Art VALENTINOIS et Drômois INDEPENDANT"

TOUS UNIS pour l'ART

UNE PETITION NATIONALE est en route

*** ceux qui désirent un calendrier 2014

réalisé avec mes oeuvres réunies en Musées Nationaux

doivent me joindre leur adresse postale

car je n'ai pas l'adresse postale de tous

  

 Joyeuses Fêtes de fin d'année à TOUS

   

  CHEVASSUS-AGNES  Jean-Pierre

  Artiste-Peintre Indépendant 

  

  chevassusagnes@wanadoo.fr

  

Site Perso   Leynad MAR : Interprète : http://www.leynadmar.com/

Site Orange

Site ARTactif | Blog ARTactif 

Site ARToffer

Site Musée Beaux-Arts Zhuhai (R.P.Chine)

Site Fines Arts America 

Interest in marbling art increases in US

NEW YORK - Anadolu Agency

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Birgül Sevimli is organizing marbling courses at the Bergen Cultural Center in New Jersey for Turkish women. She says the biggest problem is to find a permanent address to work on this art. AA photo

Turkish painting teacher and marbling artist Bingül Sevimli, who is living in New York, has been teaching the Turkish art of marble to Turks and U.S. citizens in various states in the country since 2007. Sevimli is a graduate of Uludağ University Painting Department in the northwestern province of Bursa. 

“Actually, people in the U.S. show interest in the art of marbling and want to get involved in it. I see this interest in the festivals I attend. New York is the center of art, but we don’t have a workshop or a gallery here to display our work. To take the advantage of such interest, it is very urgent for us to have an art center for the promotion of this art,” she said.  

http://www.hurriyetdailynews.com/interest-in-marbling-art-increases-in-us.aspx?pageID=238&nID=59850&NewsCatID=385 

Ancient city’s covered market opens to tourists in Turkey's Denizli

DENİZLİ - Anadolu Agency

Continuing excavations in the ancient city of Tripoli in Denizli have unearthed a rare find, a covered bazaar. The site has already been opened to tourists, although work will continue on the site for another year

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The market, which was built 2,000 years ago, covers an area of 500 square meters. DHA photos

Already the home of the famous sites of Pamukkale and Hierapolis, the Aegean province of Denizli is set to attract even more tourists after cultural officials opened a covered bazaar in the ancient city of Tripoli to visitors.

The site is rare as few other ancient cities have covered bazaars, said Bahadır Duman, an academic at Pamukkale University’s Archaeology Department and the head of the excavation team at the ancient city, adding that Tripoli was accordingly very valuable for historians.

Tripoli was one of the three most important cities in the 2nd century B.C., along with Hierapolis and Laodicea, for trade, textiles and agriculture, Duman said, while noting that the site was frequently destroyed by earthquakes.

The excavations started in April 2012, he said, adding that they dug seven meters deep. The market, which was build 2,000 years ago, spread over an area of 500 square meters, he said.

Denizli Gov. Abdülkadir Demir, meanwhile, said 2013 was the year of ancient cities in Denizli, adding that excavation works had started in Laodicea and continued with Hierapolis. The governor also promised more excavations to unearth the architectural treasures of Tripoli. “The values of the city will be excavated and revealed,” he said. 

The market was protected from the elements because it had been buried underground, officials said, noting that it would be completely unearthed in 2014.

“We found strong structures 3.5 to four meters deep, and one of them was the covered bazaar,” the academic said. 

“Most parts of the covered bazaar area still remain strong. There are similar structures in the area but they are damaged,” Duman said.

“There are also other public buildings and examples of civilian architecture, as well as open bazaar areas, baths, a theater and a very big stadium,” Duman said.

December/19/2013

Ancient relics discovered in Turkey's Samsun

ANKARA – Anadolu Agency

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AA photo

Ancient artifacts have been found in the Black Sea province of Samsun that could pave way for new historical research, according to scientists. 

During excavations at the View Terrace Park, pieces from the Roman era were recently found. Among them is a structure that features the marble bust of a pan, a bronze candle with a bull’s head, a bronze candle holder, a marble mill and many artifacts that have now been taken under protection by the Samsun Museum Directorate. 

According to information provided by the Culture and Tourism Ministry, more than 350 excavations have been conducted in the province by Turkish and foreign teams from Germany, France, Belgium, the United States, Japan, the Netherlands, Sweden, Switzerland, Italy and Canada on a budget of nearly 27 million Turkish Liras.

December/19/2013

Ahmet Kaya'ya büyük ödül

2013 Cumhurbaşkanlığı Kültür ve Sanat Büyük Ödülleri, 24 Aralık Salı günü törenle sahiplerine verilecek.

"Müziği, yorumu ve söylemiyle farklı görüşlerden çok sayıda insanı bir araya getirdiği" için müzik dalında ödüle layık görülen Ahmet Kaya'nın ödülünü eşi Gülten Kaya alacak. 

Cumhurbaşkanlığı Kültür ve Sanat Büyük Ödülleri, hizmet ve eserleri ile Türk kültür ve sanat hayatına önemli katkıda bulunan, Türkiye'de kültür ve sanatın yüceltilmesine çalışan Türk vatandaşlarını, yabancı uyruklu kişileri veya kurumları devlet adına onurlandırmak ve özendirmek amacıyla veriliyor. 



Cumhurbaşkanı Abdullah Gül'ün isteğiyle her yıl farklı dallarda verilen ödüllere layık görülenler ekim ayında açıklanıyor, ödül töreni de yıl sonunda yapılıyor. 

"2013 yılı Cumhurbaşkanlığı Kültür ve Sanat Büyük Ödülleri" de 24 Aralık 2013 Salı günü Çankaya Köşkü'nde düzenlenecek törenle sahiplerini bulacak. 



Doğum gününde isimler açıklanmıştı
Bu yıl, Cumhurbaşkanlığı Kültür ve Sanat Büyük Ödüllerine, İslam bilim ve teknoloji tarihi alanında Prof. Dr. Fuat Sezgin, sosyal bilimler dalında Prof. Dr. Daron Acemoğlu, edebiyatta Prof. Dr. İskender Pala, belgesel dalında Prof. Dr. Bekir Karlığa ile kültür ve sanat kurumu olarak da Tarihi Kentler Birliği layık görüldü. 

Ödül alanlar arasında en çok ilgi çeken isim ise "müziği, yorumu ve söylemiyle farklı görüşlerden çok sayıda insanı bir araya getirmesi" nedeniyle müzik dalında ödüle layık görülen Ahmet Kaya oldu.

Fransa'da, 16 Kasım 2000'de, 43 yaşındayken hayatını kaybeden Ahmet Kaya'nın ödülünü almak üzere eşi Gülten Kaya törene katılacak. 

Ödül alanların isimler, her yıl 29 Ekim'de duyurulurken, bu yıl açıklama, müzik dalında ödül alan Ahmet Kaya'nın da doğum günü olan 28 Ekim'de yapılmıştı.

(AA)

Fazıl Say goes on tour for his new album ‘First Songs’

ISTANBUL – Hürriyet Daily News

Having released his latest album ‘İlk Şarkılar’ (First Songs) last month, pianist and composer Fazıl Say starts his concert tour on Dec 23 in the southern province of Antakya with the soloist of the album, Serenad Bağcan. The concert series will continue until mid January in Turkish prov

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Pianist and compose Fazıl Say will share stage with Serenad Bağcan, the soloist of his album ‘First Songs.’

Internationally acclaimed Turkish pianist and composer Fazıl Say is coming together with his fans in a concert tour visiting cities across Turkey. The tour is to promote Say’s recently released album “İlk Şarkılar” (First Songs), which gathers works from renowned poets that he first put to music 20 years ago, with the interpretation of vocalist Serenad Bağcan. 

The first concert of the tour was performed on Dec. 11 at the İzmit Sabancı Culture Center. After the concert, he said that audiences showed great interest both in the album and the concert. 

The “First Songs” tour will continue on Dec. 23 until Dec. 27. Following the concerts to be held in the southern provinces of Antalya, southern Adana, İskenderun, Gaziantep and Mersin, Say will take the stage in Ankara, İzmir and the northwestern province of Bursa in January 2014. Besides works from “First Songs,” Say will also perform pieces by figures such as Mozart and Chopin. 

Poems were composed

“First Songs” was released in November, and includes musical interpretations of the works of famous poets, including Nazım Hikmet’s “My Country,” Metin Altıok’s “I Fall” and “In This Weird World,” Cemal Süreya’s “Four Seasons,” Ömer Hayyam’s “I had a Conversation with the Mind,” Can Yücel’s “Elegy to the Sardine,” Pir Sultan Abdal’s “I Asked the Yellow Crocus,” Orhan Veli’s “I Feel Blue” and “I’m Listening to Istanbul,” and Muhyiddin Abdal’s “Human, Human.”

Say says his biggest interest is reading poetry and he has grown up with the major poets. “It is always a great pleasure for me to compose these poets, a great honor, and has been a major task throughout my life. I have to say that it is very special to meet with Turkish music lovers with these songs, which I first composed 20 years ago,” he says. 

December/20/2013

'The Young Atatürk'

William Armstrong - william.armstrong@hdn.com.tr

‘The Young Atatürk: From Ottoman Soldier to Statesman of Turkey’ by George W. Gawrych (I.B. Tauris, 2013, $35, 288 pages)


There has been a resurgence of popular interest in Mustafa Kemal Atatürk of late. Almost all opposition groups have been selectively reconsidering the legacy of the Turkish Republic’s founder, in response to the country’s bitter recent culture wars and in the afterglow of the summer’s Gezi protests. Abroad, interest in Atatürk was also piqued by anti-government protesters photographed waving around his picture, so it’s probably an auspicious time to be publishing a new book on the man. This title by historian George W. Gawrych is primarily focused on the military aspect of the “young Atatürk,” and self-admittedly doesn’t aim to provide a complete assessment of its subject’s broader legacy. Still, it does leave the reader wishing for a rather more comprehensive appraisal; the young Atatürk may be inextricable from the military Atatürk, but considering either with only minimal reference to the broader sweep of Ottoman decline and republican revival makes for a pretty dry read.

The book opens with an account of Mustafa Kemal’s early years studying at the Ottoman military high school in Salonica, his hometown. After graduating, he became involved with the Committee of Union and Progress (CUP), the group of “Young Turk” officers that overthrew Sultan Abdülhamid II in 1908. Mustafa Kemal had the good fortune of not yet being high enough in the Young Turk echelons to be tarred by the mess that followed the CUP’s seizing of power, when the empire limped from crisis to crisis. However, during the Great War he commanded the heroic but tragic defence of Gallipoli in 1915, emerging with a strong reputation from a brutal slugfest that ended with around 500,000 dead on all sides. The eventual armistice later imposed by the victorious Entente powers was a peace without honour, demanding the total and unconditional surrender of the Ottoman forces. The terms amounted to the complete dismemberment of almost all of the empire’s remaining territory, with the spoils divided between the British, the French, the Italians, the Greeks, and the Armenians. However, with the CUP leadership either discredited or on trial, and the sultan’s imperial retinue effectively held hostage in occupied Istanbul, the seeds of an independence struggle were already being sown by patriotic military figures in Anatolia, to which Mustafa Kemal quietly departed.

Unfortunately, it’s around this crucial point that the book becomes a trudge, with Gawrych providing exhaustive (and exhausting) blow-by-blow accounts of every major military clash that took place between the Turks and the Greeks. Of course, a military historian cannot really be criticised for focusing on this aspect of things, but such intricate accounts of the minutiae of military strategy will probably be trying for even the most enthusiastic reader. Wading through them sometimes feels as attritional as the campaigns being described. Still, some relief does come; Gawrych gives a revelatory account of the often overlooked revolts against the nationalists that were staged throughout the independence struggle by militia groups across Anatolia, (not just in Kurdistan). Particularly striking is the book’s description of the brutal crushing of a local Greek rebellion in the western Black Sea region, in which tens of thousands were killed and deported.

Clausewitz wrote that the “statesman is inseparable from the soldier,” and this was certainly the case with Atatürk. Gawyrch’s book is subtitled “From Soldier to Statesman,” but in fact the statesman never really emerged independent from the soldier in Mustafa Kemal; the rigid, positivistic outlook that he acquired as a soldier deeply informed his later actions as president. Nevertheless, the book is also keen to make clear that this rigidity never overshadowed the robust pragmatism that marked his political steps throughout the independence struggle. Although fixed in his plans to establish a secular state defined by a restrictive “Turkism,” the young Mustafa Kemal was never shy in playing the broader Islamic card when seeking to rally popular support behind his forces. Pragmatism also defined relations with the Soviet Union, which he solicited for crucial financial and military assistance – Gawrych mentions a remarkable private letter sent by Mustafa Kemal to Lenin in 1922, in which he expressed the need to found a bloc to resist the methods of “imperialism and capitalism.”

The book ends with the declaration of the republic in 1923, before the most controversial episodes of Mustafa Kemal’s rule, and also before the major revolutionary secularising reforms that he would later enforce. However, almost inadvertently, its account of the near “total war” that Turkey went through for close to two decades gives an idea of the conditions that allowed those reforms to be pushed through. Faced with a brutalised population exhausted by war on a purged Anatolian landscape, and emboldened by the political capital that came with defeating the Greeks, Mustafa Kemal had unique conditions in which to push through his attempted root and branch social revolution. Frustratingly, exploring the wider significance of this process lies outside the scope of Gawrych’s book.

Artist creates portraits with Eskişehir’s unique mineral

ESKİŞEHİR - Anadolu Agency

Meerschaum master Mehmet Başsav has been involved with this art for half a century. A candidate for UNESCO’s Living Human Treasure, His goal is to open courses to train new apprentices

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Meerschaum artist Mehmet Başsav has been producing portraits using this mineral unique to Eskişehir. ‘Biggest richness for me is my artworks,’ he says. AA photo

Mehmet Başsav, a meerschaum portrait artist from the central Anatolian province of Eskişehir, has been a candidate for the Living Human Treasure awarded by UNESCO, as well as the traditional Turkish handicraft artist by the Culture and Tourism. 

Working on meerschaum for 52 years, Başsav has so far created lots of products such as pipe, miniature bust, sculpture, mask and reliefs.



http://www.hurriyetdailynews.com/artist-creates-portraits-with-eskisehirs-unique-mineral.aspx?pageID=238&nID=59780&NewsCatID=385