{"id":47,"date":"2025-03-31T11:59:04","date_gmt":"2025-03-31T11:59:04","guid":{"rendered":"https:\/\/beyondyesterday.org\/?page_id=47"},"modified":"2026-03-21T19:09:50","modified_gmt":"2026-03-21T19:09:50","slug":"beyondyesterday-project","status":"publish","type":"page","link":"https:\/\/beyondyesterday.org\/tr\/beyondyesterday-project\/","title":{"rendered":"D\u00fcn\u00fcn \u00d6tesinde"},"content":{"rendered":"\n

Ben bir antropolo\u011fum ve antropoloji, \u00e7o\u011fu zaman k\u00fct\u00fcphane ya da ar\u015fiv \u00e7al\u0131\u015fmalar\u0131n\u0131n aleyhine bile olsa, do\u011frudan sahayla y\u00fcz y\u00fcze gelmeyi programatik olarak ayr\u0131cal\u0131kl\u0131 k\u0131lar. On y\u0131l\u0131 a\u015fk\u0131n s\u00fcredir en yo\u011fun ve s\u00fcrekli saha ara\u015ft\u0131rmalar\u0131m\u0131 Balkanlarda y\u00fcr\u00fct\u00fcyorum: bug\u00fcn \u00f6zellikle Yunanistan ve Arnavutluk\u2019ta; ayr\u0131ca Kuzey Makedonya, Romanya ve daha s\u0131n\u0131rl\u0131 \u00f6l\u00e7\u00fcde Bulgaristan\u2019a da\u011f\u0131lm\u0131\u015f eski Ulah (Aroman) \u00e7oban yerle\u015fimlerinde. \u00c7o\u011fu zaman yan\u0131mda New York\u2019tan yak\u0131n dostum ve meslekta\u015f\u0131m Dan Bora oldu; y\u0131lda bir ya da iki kez Atina\u2019da ya da Selanik\u2019te bulu\u015fur, oradan Pindos Da\u011flar\u0131\u2019n\u0131n zirvelerindeki \u0131ss\u0131z k\u00f6ylere gideriz. Birlikte yapt\u0131\u011f\u0131m\u0131z nice yolculuk i\u00e7in minnettar oldu\u011fum kuzenim Carmen Dobrot\u00e6 da s\u0131kl\u0131kla e\u015flik etti; kendisi zaman i\u00e7inde g\u00f6rsel antropoloji \u00fczerine d\u00fczenledi\u011fim bir\u00e7ok serginin k\u00fcrat\u00f6rl\u00fc\u011f\u00fcn\u00fc \u00fcstlendi.<\/em><\/p>\n\n\n\n

2017\u2019de, B\u00fckre\u015f\u2019teki Romanya K\u00f6yl\u00fcleri Ulusal M\u00fczesi\u2019nde yapt\u0131\u011f\u0131m bir ar\u015fiv ara\u015ft\u0131rmas\u0131 s\u0131ras\u0131nda \u015funu fark ettim: Romanya\u2019da korunmu\u015f en \u00f6nemli eski g\u00f6rsel koleksiyonlardan biri olan Manakia Fonu\u2019nda Ulah yerle\u015fimlerine ait az say\u0131da foto\u011fraf\u0131n yeri belirlenmi\u015fti; \u00e7o\u011funda ise 20. y\u00fczy\u0131l ba\u015flar\u0131n\u0131n ruhuna uygun, \u00e7ok k\u0131sa tan\u0131mlar vard\u0131: \u00f6rne\u011fin \u201cBalkanlarda Rumen k\u00f6y\u00fc\u201d. Bug\u00fcn, antropologlar\u0131n \u00e7ok daha kesin olmalar\u0131 gerekiyor. Baz\u0131 foto\u011fraflar\u0131 derhal tan\u0131d\u0131m; \u00f6nceki saha \u00e7al\u0131\u015fmalar\u0131m sayesinde, mesela Zagori\u2019deki Iliochori k\u00f6y\u00fcn\u00fcn foto\u011fraf\u0131nda oldu\u011fu gibi: yerle\u015fimin meydan\u0131ndaki bin y\u0131ll\u0131k \u00e7\u0131nar \u2014 Yunanistan\u2019\u0131n en ya\u015fl\u0131 a\u011fa\u00e7lar\u0131ndan biri \u2014 hemen ay\u0131rt edici bir g\u00f6rsel i\u015faretti. Di\u011fer foto\u011fraflar i\u00e7inse hik\u00e2ye daha maceral\u0131yd\u0131; yeni saha gezilerini, tesad\u00fcflerin \u015fekillendirdi\u011fi kar\u015f\u0131la\u015fmalar\u0131 ve farkl\u0131 Balkan \u00fclkelerine uzanan bir ke\u015fif zincirini gerektirdi. \u0130\u015fte o s\u0131rada akl\u0131ma, 1900\u2019lerin ba\u015f\u0131ndaki kareleri Manakia Karde\u015flerin kulland\u0131\u011f\u0131yla birebir ayn\u0131 kadrajdan yeniden \u00e7ekme fikri geldi.<\/em><\/p>\n\n\n\n

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Ianaki ve Milton Manakia<\/figcaption><\/figure>\n\n\n\n

Ianaki ve Milton Manakia, 19. y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131nda Pindos Da\u011flar\u0131\u2019n\u0131n eteklerindeki Avdela k\u00f6y\u00fcnde, Aroman (Ulah) bir \u00e7oban ailesinde d\u00fcnyaya geldiler. O d\u00f6nemde k\u00f6y h\u00e2l\u00e2 Osmanl\u0131 \u0130mparatorlu\u011fu\u2019na ba\u011fl\u0131yd\u0131; bug\u00fcn ise Yunanistan s\u0131n\u0131rlar\u0131 i\u00e7inde. Tarih onlar\u0131, ola\u011fan\u00fcst\u00fc belgesel de\u011fere sahip \u00e7ok say\u0131da foto\u011fraf\u0131n yarat\u0131c\u0131lar\u0131 ve hem Osmanl\u0131 topraklar\u0131nda hem de Balkanlarda film kaydeden ilk sinemac\u0131lar olarak hat\u0131rlayacakt\u0131r \u2014 Lumi\u00e8re Karde\u015flerin insanl\u0131k tarihindeki ilk filmi \u00e7ekmesinden yaln\u0131zca on y\u0131l sonra.<\/p>\n\n\n\n

\u0130ki karde\u015f, do\u011fduklar\u0131 k\u00f6ydeki Rumen okuluna, ard\u0131ndan Ioannina\u2019daki Rumen lisesine devam ettiler; ancak atalar\u0131n\u0131n izinden gidip b\u00fcy\u00fck koyun s\u00fcr\u00fclerinin sahipleri olmay\u0131 se\u00e7mediler. Bunun yerine, Osmanl\u0131 \u0130mparatorlu\u011fu\u2019nun nihai \u00e7\u00f6k\u00fc\u015f\u00fc, Balkan Sava\u015flar\u0131 ve sonras\u0131nda ulusal s\u0131n\u0131rlar\u0131n \u00e7izildi\u011fi son derece \u00e7alkant\u0131l\u0131 bir d\u00f6nemde, Balkanlar\u0131 \u201cg\u00f6\u00e7ebe\u201d bir hayat ritmiyle dola\u015farak foto\u011fraf \u00e7ekmeye y\u00f6neldiler. Ioannina\u2019da bir foto\u011fraf at\u00f6lyesi a\u00e7t\u0131lar; daha sonra at\u00f6lyelerini o d\u00f6nemde ayn\u0131 ad\u0131 ta\u015f\u0131yan Osmanl\u0131 vilayetinin ba\u015fkenti olan Manast\u0131r\u2019a (bug\u00fcnk\u00fc Kuzey Makedonya\u2019daki Bitola) ta\u015f\u0131d\u0131lar; buras\u0131 Selanik\u2019ten sonra b\u00f6lgenin ikinci b\u00fcy\u00fck \u015fehriydi. Ianaki ve Milton, ula\u015fmas\u0131 g\u00fc\u00e7 k\u00f6ylerin yan\u0131 s\u0131ra vilayetin kasaba ve \u015fehirlerini de dola\u015farak sipari\u015f \u00fczerine foto\u011fraflar \u00e7ektiler. Yanlar\u0131nda kocaman ve a\u011f\u0131r bir foto\u011fraf makinesi ile k\u0131r\u0131lgan cam negatifler vard\u0131. Bu meslek tutkuyla ve b\u00fcy\u00fck yetenekle icra ediliyordu; ama her \u015feyden \u00f6nce ge\u00e7im kaynaklar\u0131yd\u0131.<\/p>\n\n\n\n

Romanya K\u00f6yl\u00fcleri Ulusal M\u00fczesi\u2019nde korunan ar\u015fivdeki foto\u011fraflar\u0131n \u00e7o\u011fu, d\u00f6nemin s\u0131radan insanlar\u0131n\u0131n portreleridir: kimi geleneksel k\u0131yafetlerle, kimi de \u201cAlman i\u015fi\u201d \u015fehir giysileriyle. Modern olanla arkaik olan, Balkanlar\u0131n erken modernle\u015fme \u00e7a\u011f\u0131nda hi\u00e7 olmad\u0131\u011f\u0131 kadar e\u015fzamanl\u0131yd\u0131 ve bu ikili\u011fi onlar\u0131n foto\u011fraflar\u0131nda a\u00e7\u0131k\u00e7a g\u00f6rmek m\u00fcmk\u00fcnd\u00fcr. Benim i\u00e7in \u015fa\u015f\u0131rt\u0131c\u0131 olan, bu iki d\u00fcnyan\u0131n birbirinden yal\u0131t\u0131k ya\u015famad\u0131\u011f\u0131n\u0131 fark etmek oldu \u2014 ki ben de d\u00f6neme ilgi duyan bir\u00e7ok tarih\u00e7i gibi ba\u015flang\u0131\u00e7ta b\u00f6yle d\u00fc\u015f\u00fcnmeye meyilliydim. Ger\u00e7ekte s\u00f6z konusu olan, \u00fcst \u00fcste binen d\u00fcnyalard\u0131. Pind k\u00f6ylerini gezerken bazen ayn\u0131 ki\u015filerin farkl\u0131 ba\u011flamlarda foto\u011fraflarda belirdi\u011fini g\u00f6rd\u00fcm: kimi zaman \u00e7oban suretinde, geleneksel k\u0131yafetlerle; kimi zaman ise kentli han\u0131mlar ve beyler olarak, Avrupa modas\u0131 ve l\u00fcks\u00fcn\u00fcn \u00e7izgilerine b\u00fcr\u00fcnm\u00fc\u015f h\u00e2lde \u2014 oysa g\u00f6r\u00fcn\u00fcrde d\u00fcnyadan kopuk k\u00f6ylerde ya\u015f\u0131yorlard\u0131.<\/p>\n\n\n\n

Portrelere, aile etkinliklerinden sahneler de ekleniyordu: d\u00fc\u011f\u00fcnler, cenazeler, b\u00fcy\u00fck din\u00ee bayramlardaki e\u011flenceler ve hatta siyas\u00ee olaylar \u2014 \u00f6rne\u011fin Sultan\u2019\u0131n Bitola ziyaretinde iki karde\u015fin filme ald\u0131\u011f\u0131 g\u00f6r\u00fcnt\u00fcler. B\u00fckre\u015f\u2019te korunan foto\u011fraflar daha ziyade etnografik ilgi ta\u015f\u0131rken, Bitola\u2019daki ar\u015fivde muhafaza edilen binlerce cam negatif, 20. y\u00fczy\u0131l ba\u015f\u0131 Balkan ya\u015fam\u0131n\u0131n ola\u011fan\u00fcst\u00fc bir kaleydoskopunu ortaya koyar. Zaman\u0131n s\u00fczgecinden ge\u00e7tikten sonra, o d\u00f6nemin g\u00fcndelik s\u0131radanl\u0131klar\u0131n\u0131 bug\u00fcne k\u0131yasla \u015fa\u015f\u0131rt\u0131c\u0131 bir zenginlik, yo\u011funluk ve \u00e7e\u015fitlilikle g\u00f6r\u00fcn\u00fcr k\u0131lar. Karde\u015flerin foto\u011fraflad\u0131\u011f\u0131 bir\u00e7ok sahne ise, \u00e7er\u00e7evelemedeki zarafet ve an\u0131 yakalamadaki ola\u011fan\u00fcst\u00fc duyarl\u0131k sayesinde, bug\u00fcn ar\u015fivlerde \u00e7al\u0131\u015fan antropolo\u011fu hayrete d\u00fc\u015f\u00fcren sanatsal bir sezgiyle aktar\u0131lm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

1906\u2019da Ianaki ve Milton Manakia, Romanya Genel Sergisi i\u00e7in B\u00fckre\u015f\u2019e davet edilir ve bu vesileyle Romanya Kraliyet Saray\u0131\u2019n\u0131n foto\u011fraf\u00e7\u0131lar\u0131 unvan\u0131n\u0131 al\u0131rlar. Ayn\u0131 zamanda, Pind\u2019deki Aromanlar\u0131n portrelerini ve yerle\u015fimlerini konu alan bir foto\u011fraf koleksiyonu, o s\u0131rada Tzigara-Samurca\u015f taraf\u0131ndan kurulan ve bug\u00fcnk\u00fc Romanya K\u00f6yl\u00fcleri Ulusal M\u00fczesi\u2019nin \u00f6nc\u00fcl\u00fc olan Ulusal Sanat M\u00fczesi i\u00e7in sat\u0131n al\u0131n\u0131r. 2017 yaz\u0131nda Amerikal\u0131 meslekta\u015f\u0131mla birlikte yola \u00e7\u0131karken izini s\u00fcrd\u00fc\u011f\u00fcm\u00fcz foto\u011fraflar i\u015fte bunlard\u0131.<\/p>\n\n\n\n

Geriye bak\u0131ld\u0131\u011f\u0131nda, B\u00fckre\u015f ziyaretleri iki karde\u015fin kariyerinde bir d\u00f6n\u00fcm noktas\u0131d\u0131r. O andan itibaren \u00e7al\u0131\u015fmalar\u0131, Balkanlar\u0131n g\u00f6rsel tarihi a\u00e7\u0131s\u0131ndan derin anlam kazanmaya ba\u015flar. B\u00fckre\u015f\u2019te Manakia Karde\u015fler ilk kez bir film g\u00f6sterimi izler ve b\u00f6ylece Lumi\u00e8re Karde\u015flerin sinematografi tekni\u011fine dair ayr\u0131nt\u0131lar \u00f6\u011frenirler. B\u00fcy\u00fclenirler; bunun \u00fczerine Ianaki Londra\u2019ya giderek bir film kameras\u0131 sat\u0131n al\u0131r. Tesad\u00fcfen, bu kamera d\u00fcnyadaki 300 numaral\u0131 Bioscope\u2019tur.<\/p>\n\n\n\n

Teknolojik ilerlemelerin, g\u00f6kdelenlerin ve okyanus-a\u015f\u0131r\u0131 gemilerin kayda al\u0131nd\u0131\u011f\u0131 bir d\u00f6nemde iki karde\u015f kendi da\u011f k\u00f6ylerine d\u00f6ner ve 1906 ya da 1907\u2019de (y\u0131l\u0131 kesin de\u011fildir) etnografik bir belgesel \u00e7ekerler. Elbette sessizdir ve bir dakikadan k\u0131sad\u0131r; \u00e7\u00fcnk\u00fc o zamanlar\u0131n teknik standartlar\u0131 b\u00f6yledir. Fakat bu filmle, fark\u0131nda olmadan \u00fc\u00e7 d\u00fcnya rekoruna imza atarlar: Osmanl\u0131 \u0130mparatorlu\u011fu\u2019nun h\u00e2l\u00e2 geni\u015f topraklar\u0131nda \u00e7ekilen ilk film; Balkanlarda \u00e7ekilen ilk etnografik belgesel; ve Balkanlarda \u00e7ekilen ilk belgesel film. Konu mu? Y\u00fcn\u00fcn geleneksel i\u015flenmesi. Halk giysileri i\u00e7indeki kad\u0131n gruplar\u0131 \u00e7al\u0131\u015f\u0131rken g\u00f6r\u00fcl\u00fcr. Aralar\u0131nda, merkeze yak\u0131n birka\u00e7 saniyelik planda, karde\u015flerin b\u00fcy\u00fckanneleri Despa yer al\u0131r. Milton\u2019un daha sonraki tan\u0131kl\u0131\u011f\u0131na g\u00f6re 114 ya\u015f\u0131ndad\u0131r. Ya\u015f \u00e7ok ileri g\u00f6r\u00fcnse de, bu durum Pind Vlachlar\u0131 i\u00e7in ola\u011fan d\u0131\u015f\u0131 de\u011fildir. Ba\u015fka bir deyi\u015fle b\u00fcy\u00fckanne Despa, 18. y\u00fczy\u0131lda (1792? 1793?) do\u011fmu\u015ftur; Ali Pa\u015fa d\u00f6neminde, Napolyon\u2019un hen\u00fcz \u201cNapolyon\u201d olmaya ba\u015flad\u0131\u011f\u0131 y\u0131llarda. Bug\u00fcn hareket h\u00e2linde g\u00f6rebildi\u011fimiz bir insan i\u00e7in ak\u0131l almaz \u00f6l\u00e7\u00fcde eski bir tarih.<\/p>\n\n\n\n

Bu da iki karde\u015fin fark\u0131nda olmadan ger\u00e7ekle\u015ftirdi\u011fi ba\u015fka bir rekor: Ne 1810 do\u011fumlu Papa XIII. Leo ne de 1804\u2019te Britanya\u2019da do\u011fup 1912\u2019de Kinora kameras\u0131yla kayda al\u0131nan Rebecca Clarke, sinema tarihinin resm\u00ee anlat\u0131s\u0131nda ileri s\u00fcr\u00fcld\u00fc\u011f\u00fc gibi \u201cen eski\u201d filmde g\u00f6r\u00fclen ki\u015filer de\u011fildir. As\u0131l en ya\u015fl\u0131 insan, Avdela\u2019dan Despa\u2019d\u0131r \u2014 Milton ve Ianaki Manakia\u2019n\u0131n b\u00fcy\u00fckanneleri. Ne Bat\u0131 Avrupa\u2019dan \u00fcnl\u00fc biri ne de \u201cmedeniyetin\u201d ve tekni\u011fin lokomotifi; aksine, Osmanl\u0131 Balkanlar\u0131n\u0131n izole bir da\u011f k\u00f6y\u00fcnden ya\u015fl\u0131 bir kad\u0131n\u2026 20. y\u00fczy\u0131l\u0131n ba\u015f\u0131nda Avrupa\u2019n\u0131n yeni yeni fark\u0131na vard\u0131\u011f\u0131, kaynayan Balkanlardan biri; Bat\u0131 gazetelerinin Balkan Sava\u015flar\u0131 nedeniyle hem deh\u015fetle hem de hayranl\u0131kla haber yapt\u0131\u011f\u0131 bir diyar.<\/p>\n\n\n\n

Do\u011frudur, hem b\u00fcy\u00fckannenin ya\u015f\u0131 (Ianaki, ba\u015fka bir foto\u011fraf\u0131n alt\u0131na Despa\u2019n\u0131n 102 ya\u015f\u0131nda oldu\u011funu not eder) hem de filmin tarihi tart\u0131\u015fmal\u0131d\u0131r. Ancak kesin tarihlemeden ba\u011f\u0131ms\u0131z olarak, elde edilen tarihsel anlam ge\u00e7erlili\u011fini korur.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

D\u00f6nemin Balkanlar\u0131n\u0131n ne kadar karma\u015f\u0131k bir yazg\u0131ya sahip oldu\u011funu, yan tarafta g\u00f6r\u00fclen haritalar a\u00e7\u0131k\u00e7a g\u00f6steriyor. Bunlar, Osmanl\u0131 vilayeti Makedonya\u2019n\u0131n etnik haritalar\u0131d\u0131r. G\u00fcneyde \u2014 haritada yer almaz, \u00e7\u00fcnk\u00fc o zamanlar \u201c\u00f6nemsiz\u201d say\u0131l\u0131rd\u0131 \u2014 Manakia karde\u015flerin k\u00f6y\u00fc Avdela bulunur; biraz daha kuzeyde ise, haritada i\u015faretlenmi\u015f, \u201ckonsoloslar kenti\u201d olarak bilinen Manast\u0131r (Bitola) vard\u0131r. Karde\u015fler burada foto\u011fraf at\u00f6lyelerini kurmu\u015f, k\u0131sa s\u00fcrede b\u00fct\u00fcn vilayette b\u00fcy\u00fck ilgi g\u00f6ren bir sinema salonu a\u00e7m\u0131\u015flard\u0131. \u00c7ok ge\u00e7meden Avdela Yunanistan\u2019a d\u00e2hil olacak, Manast\u0131r ise Yugoslavya Krall\u0131\u011f\u0131\u2019na ba\u011flanarak Bitola ad\u0131n\u0131 alacakt\u0131. B\u00fct\u00fcn bunlar, deh\u015fetli tarih\u00ee gerilimlerin sonucudur.<\/p>\n\n\n\n

Haritalar, d\u00f6nemin ideolojisinin arzulad\u0131\u011f\u0131 gibi kesin s\u0131n\u0131rlar \u00e7izmenin neredeyse imk\u00e2ns\u0131z oldu\u011fu, anla\u015f\u0131lmas\u0131 g\u00fc\u00e7 bir etnik mozai\u011fi yans\u0131t\u0131r. Vilayetin ad\u0131ndan t\u00fcreyen Frans\u0131zca mac\u00e9doine s\u00f6zc\u00fc\u011f\u00fc \u2014 bir salata t\u00fcr\u00fcn\u00fcn ad\u0131 \u2014 bile Frans\u0131zlar\u0131n, me\u015fhur nezaketlerine ra\u011fmen, tarihte her zaman \u00f6yle davranmad\u0131klar\u0131n\u0131n bir i\u015faretidir. Haritalar ayn\u0131 zamanda, alt ba\u015fl\u0131klar\u0131yla, o d\u00f6nemin toprak anla\u015fmazl\u0131klar\u0131n\u0131 da g\u00f6zler \u00f6n\u00fcne serer: birinin alt ba\u015fl\u0131\u011f\u0131 point de vue bulgare<\/em>, di\u011ferininki point de vue serbe<\/em>\u2019dir. Avrupa\u2019n\u0131n tarih\u00ee, siyas\u00ee ve kartografik s\u00f6yleminde yeni bir etnik ad belirir: bug\u00fcne kadar \u201cBulgar\u201d diye an\u0131lan Slav Makedonlar. B\u00f6lge hem S\u0131rbistan hem Bulgaristan taraf\u0131ndan e\u015fit bi\u00e7imde hak iddia edilmekteydi; Yunanistan ise en eski Antik\u00e7a\u011f\u2019a dek uzanan g\u00f6rkemli bir tarihe dayanarak b\u00f6lgenin b\u00fcy\u00fck k\u0131sm\u0131n\u0131 kendi m\u00fclk\u00fc say\u0131yordu. Etnik yerle\u015fim haritalar\u0131, Osmanl\u0131 egemenli\u011finin y\u00fczy\u0131llar\u0131ndan sonra ba\u011f\u0131ms\u0131zl\u0131k ve m\u00fcmk\u00fcn oldu\u011funca geni\u015f toprak isteyen ulus-devletler \u00e7a\u011f\u0131nda, birer arg\u00fcman ve b\u00f6l\u00fc\u015f\u00fcm ilkesi olarak kullan\u0131ld\u0131. Ancak d\u00f6nemin hi\u00e7bir haritas\u0131 net bir etnik s\u0131n\u0131rland\u0131rmaya izin vermiyor; \u00e7o\u011fu, siyas\u00ee ve toprak \u00e7\u0131karlar\u0131na g\u00f6re tarih ve co\u011frafyay\u0131 g\u00f6rsel olarak \u201cyeniden yazarken\u201d, bir etnik grubun oran\u0131n\u0131 di\u011ferleri aleyhine abart\u0131yordu. \u00d6yle ki ayn\u0131 ailenin bir k\u0131sm\u0131 kendini bir etniye, di\u011fer k\u0131sm\u0131 ise ba\u015fka bir etniye ait ilan edebiliyordu \u2014 d\u00f6nemin tuhaf ama somut bir ger\u00e7e\u011fi.<\/p>\n\n\n\n

\u0130lk bak\u0131\u015fta, b\u00fct\u00fcn bu siyasal ve toprak \u00e7\u0131karlar\u0131n\u0131n \u00e7at\u0131\u015fmas\u0131, Romanya K\u00f6yl\u00fcleri Ulusal M\u00fczesi\u2019ndeki Manakia Fonu foto\u011fraflar\u0131nda g\u00f6r\u00fclen s\u0131radan insanlar\u0131n y\u00fczlerinde ve etnografik sahnelerde hi\u00e7 g\u00f6r\u00fcnmez. Ama dikkatli, antropolojik bir bak\u0131\u015fla b\u00fct\u00fcn d\u00f6nem, t\u00fcm \u00e7alkant\u0131s\u0131yla birlikte okunur: Manakia foto\u011fraf ar\u015fivi, 20. y\u00fczy\u0131l ba\u015f\u0131ndaki Balkan gerilimlerinin dolayl\u0131 ama eksiksiz bir freskidir. Ola\u011fan\u00fcst\u00fc olan \u015fu: Milton ve Ianaki, ulusal \u00e7at\u0131\u015fmalar\u0131n en \u015fiddetli oldu\u011fu bir \u00e7a\u011fda, etnik aidiyeti dikkate almadan portreler \u00e7ekiyorlard\u0131.<\/p>\n\n\n\n

Nitekim sultan\u0131, Konstantinopolis patri\u011fini, Romanya kraliyet ailesini; hem Yunan kral\u0131n\u0131 hem de Yugoslavya kral\u0131n\u0131 foto\u011fraflad\u0131lar. Milton daha sonra, Yugoslavya\u2019n\u0131n sosyalist lideri olmadan \u00f6nceki gen\u00e7lik y\u0131llar\u0131nda Tito\u2019yu da foto\u011fraflama \u015fans\u0131na sahip oldu; bu da onun ilerideki kaderi a\u00e7\u0131s\u0131ndan b\u00fcy\u00fck bir talih say\u0131labilir.<\/p>\n\n\n\n

Aromanlar da \u00e7a\u011f\u0131n kimlik oyunlar\u0131n\u0131n gerilimi i\u00e7ine \u00e7ekilmi\u015flerdi. G\u00fc\u00e7l\u00fc bir \u00e7at\u0131\u015fma toplulu\u011fu b\u00f6l\u00fcyordu. Muhtemelen \u00e7o\u011funlu\u011fu olu\u015fturan bir kesim Yunan ulusal kimli\u011fini se\u00e7mi\u015f, tam bir inan\u00e7la Yunanistan i\u00e7in sava\u015fm\u0131\u015ft\u0131. Bir ba\u015fka kesim ise konu\u015ftuklar\u0131 dile dayanarak Rumen kimli\u011fini benimsedi; s\u0131n\u0131rlar\u0131n yeniden \u00e7izildi\u011fi o d\u00f6nemde, hat\u0131r\u0131 say\u0131l\u0131r say\u0131da ki\u015fi do\u011fduklar\u0131 yeri terk ederek, o zaman Romanya\u2019ya ba\u011fl\u0131 olan ve 1940\u2019ta Bulgaristan\u2019a ge\u00e7en Dobruca\u2019ya (Cadrilater) g\u00f6\u00e7 etti; bu da yeni ve ac\u0131 verici n\u00fcfus de\u011fi\u015fimlerine yol a\u00e7t\u0131. Ama belki de \u2014 ho\u015fuma giden bir d\u00fc\u015f\u00fcnce olarak \u2014 insanlar\u0131n \u00e7o\u011fu kendi ya\u015famlar\u0131na bak\u0131yor, geleneklerini s\u00fcrd\u00fcr\u00fcyor, \u00e7a\u011f\u0131n ruhuna uygun yenilikler yap\u0131yor, b\u00f6ylesi kimlik sorular\u0131n\u0131 kendilerine hi\u00e7 sormuyorlard\u0131.<\/p>\n\n\n\n

Bug\u00fcn Yunanistan\u2019da Manakia Karde\u015flerden, Balkan sinemas\u0131n\u0131n \u00f6nc\u00fcleri olarak s\u0131k\u00e7a s\u00f6z edilir; Kuzey Makedonya\u2019da \u00e7ok, Romanya\u2019da ise pek az konu\u015fulur. Balkan \u00fclkelerinin her biri iki karde\u015fi kendine mal etmeye \u00e7al\u0131\u015f\u0131r. Oysa g\u00fcn\u00fcm\u00fczde bu s\u00f6ylem \u00f6nemini yitirmelidir: Manakia Karde\u015fler, basit\u00e7e Balkan tarihine aittir. Ve Aromanlar, ya\u015fad\u0131klar\u0131 \u00fclkeye \u2014 her zaman \u2014 sad\u0131k kalm\u0131\u015flard\u0131r.<\/p>\n\n\n\n

Karde\u015flerin hayat\u0131 bile Balkanlar\u0131n kaderi hakk\u0131nda \u00e7ok \u015fey s\u00f6yler. 1935\u2019ten sonra yollar\u0131 ayr\u0131l\u0131r. Ianaki, 1954\u2019te Selanik\u2019te, Yunanistan\u2019da \u00f6l\u00fcr; yoksul, o\u011flunun erken \u00f6l\u00fcm\u00fcyle sars\u0131lm\u0131\u015f bir h\u00e2lde. 1935\u2019ten \u00f6l\u00fcm\u00fcne dek, neredeyse yirmi y\u0131l boyunca Ianaki\u2019nin karde\u015fini yeniden g\u00f6rme imk\u00e2n\u0131 olmaz; \u00e7\u00fcnk\u00fc Milton Bitola\u2019da kal\u0131r \u2014 1943\u2019ten itibaren sosyalist olan Yugoslavya\u2019da. S\u0131n\u0131rlar kat\u0131d\u0131r, a\u015f\u0131lamaz; oysa k\u0131sa bir s\u00fcre \u00f6ncesine kadar, y\u00fczy\u0131llar boyunca dola\u015f\u0131m, insanlar\u0131n hayat\u0131n\u0131n do\u011fal ritmiydi \u2014 etni ya da din g\u00f6zetmeksizin.<\/p>\n\n\n\n

Milton, Yugoslavya\u2019da ulusal \u00f6l\u00e7ekte tan\u0131nacakt\u0131r; \u00e7\u00fcnk\u00fc tesad\u00fcf onu bir zamanlar baz\u0131 Yugoslav kom\u00fcnistlerinin gen\u00e7lik portrelerini \u2014 aralar\u0131nda, s\u00f6yledi\u011fim gibi, Tito da vard\u0131 \u2014 \u00f6l\u00fcms\u00fczle\u015ftirmeye y\u00f6nlendirmi\u015fti. Ar\u015fivi Yugoslav devleti taraf\u0131ndan sat\u0131n al\u0131nacak, kendisiyle r\u00f6portajlar yap\u0131lacak, ya\u015fam\u0131 s\u0131ras\u0131nda Zagreb\u2019de ona adanm\u0131\u015f bir belgesel \u00e7ekilecekti. 1964\u2019te \u00f6l\u00fcr; 1979\u2019dan (benim do\u011fdu\u011fum y\u0131l\u2026) itibaren Bitola\u2019da her y\u0131l Camera 300 ba\u015fl\u0131kl\u0131 uluslararas\u0131 bir belgesel film festivali d\u00fczenlenir ve bu, Avrupa\u2019n\u0131n en uzun soluklu belgesel festivallerinden biri olacakt\u0131r. Yunan y\u00f6netmen Theo Angelopoulos\u2019un ba\u015fyap\u0131t\u0131 To vlemma tou Odyssea \/ Ulis\u2019in Bak\u0131\u015f\u0131<\/em> (1995), Balkanlar\u0131n kapal\u0131 s\u0131n\u0131rlarla par\u00e7alanmas\u0131n\u0131n h\u00fcz\u00fcnl\u00fc yazg\u0131s\u0131n\u0131 ve k\u00f6ks\u00fcz b\u0131rak\u0131lman\u0131n trajedisini ola\u011fan\u00fcst\u00fc, melankolik bir sanat diliyle anlat\u0131rken, \u00e7\u0131k\u0131\u015f noktas\u0131n\u0131 Avdela\u2019da karde\u015flerin kayda ald\u0131\u011f\u0131 maia Despa\u2019n\u0131n g\u00f6r\u00fcnt\u00fclerinden al\u0131r. Angelopoulos, 1990 sonras\u0131 Balkanlar\u0131nda \u2014 on y\u0131llar sonra s\u0131n\u0131rlar\u0131n yeniden a\u00e7\u0131ld\u0131\u011f\u0131 d\u00f6nemde \u2014 \u00e7a\u011fda\u015f bir karakterin yolculu\u011funu kurar; karde\u015flerin \u201ckay\u0131p\u201d oldu\u011fu san\u0131lan filmini aray\u0131\u015f\u0131nda\u2026 Asl\u0131nda, kaybolmu\u015f kendi kimli\u011fini aray\u0131\u015f\u0131nda.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Karde\u015flerin hik\u00e2yesine bu gezinti, g\u00f6rsel antropoloji ara\u015ft\u0131rmam\u0131n ba\u011flam\u0131n\u0131 \u2014 asgari de olsa \u2014 anlamak i\u00e7in gerekliydi. Romanya K\u00f6yl\u00fcleri M\u00fczesi\u2019nin G\u00f6rsel Ar\u015fivi\u2019nde yer alan yakla\u015f\u0131k 200 foto\u011fraf\u0131n \u00f6nemli bir k\u0131sm\u0131 Aroman yerle\u015fimlerini g\u00f6steriyor. Uzaklardan \u00e7ekilmi\u015f panoramik k\u00f6y g\u00f6r\u00fcnt\u00fcleri; kendine \u00f6zg\u00fc mimarileriyle kimileri az bilinen, kimileri Aromanlar i\u00e7in efsanevi: \u00f6rne\u011fin Yunanistan\u2019\u0131n ve Balkanlar\u0131n en y\u00fcksek yerle\u015fimi Samarina ya da 18. y\u00fczy\u0131lda n\u00fcfus bak\u0131m\u0131ndan Balkanlar\u0131n \u2014 \u0130stanbul\u2019dan sonra \u2014 ikinci b\u00fcy\u00fck kenti olan, matbaalar\u0131, k\u00fct\u00fcphaneleri ve onlarca kilisesiyle \u00fcnl\u00fc da\u011f \u015fehri Moscopole. Bug\u00fcn Arnavutluk\u2019ta, \u00e7ok k\u00fc\u00e7\u00fck bir tarih\u00ee yerle\u015fim stat\u00fcs\u00fcne indirgenmi\u015f durumda; 18. y\u00fczy\u0131l sonlar\u0131nda, \u015f\u00f6hreti ve Osmanl\u0131 h\u00e2kimiyetine kar\u015f\u0131 isyan potansiyeli nedeniyle Ali Pa\u015fa taraf\u0131ndan yak\u0131l\u0131p da\u011f\u0131t\u0131ld\u0131.<\/p>\n\n\n\n

Bir tek istisna d\u0131\u015f\u0131nda, bu yerle\u015fimleri betimleyen foto\u011fraflar\u0131n t\u00fcm\u00fc, do\u011fan\u0131n i\u00e7indeki yaln\u0131zl\u0131\u011f\u0131n dinginli\u011fini yans\u0131t\u0131r: da\u011f zirvelerinin yan\u0131 ba\u015f\u0131nda, ormanlar\u0131n aras\u0131nda, yar\u0131maday\u0131 a\u015fan b\u00fcy\u00fck ticaret yollar\u0131ndan \u00e7ok uzakta. Ama bu dinginli\u011fin \u00f6tesinde, antropolo\u011fun g\u00f6z\u00fc, arka planda d\u00f6nemin u\u011fultusunu, \u00e7at\u0131\u015fmalar\u0131n\u0131 ve Aromanlar\u0131n kimlik aray\u0131\u015f\u0131ndaki \u00e7\u0131rp\u0131n\u0131\u015f\u0131n\u0131 okur; ard\u0131ndan k\u00f6ylerini, k\u00fc\u00e7\u00fck da\u011f kasabalar\u0131n\u0131 terk edi\u015flerini; d\u00fc\u015fman \u00fclkelere b\u00f6l\u00fcnmelerini ve birdenbire s\u0131n\u0131rlarla kesilen yollarda transhumans\u0131 s\u00fcrd\u00fcremeyi\u015flerini. Manakia karde\u015flerin foto\u011fraflar\u0131nda g\u00f6r\u00fclen yerle\u015fimlerin \u00e7o\u011fu bug\u00fcn Yunanistan\u2019dad\u0131r; d\u00f6rd\u00fc Kuzey Makedonya\u2019da, yaln\u0131zca biri Arnavutluk\u2019tad\u0131r. Foto\u011fraflar\u0131 iki karde\u015ften sat\u0131n al\u0131rken Tzigara-Samurca\u015f, birka\u00e7\u0131n\u0131n \u00fczerine yerle\u015fimlerin ad\u0131n\u0131 not etmi\u015f; ancak \u00e7o\u011fu ads\u0131zd\u0131r \u2014 yaln\u0131zca d\u00f6nemin milliyet\u00e7i ruhuna uygun, belirsiz bir ibare: \u201cBalkanlarda Rumen k\u00f6y\u00fc.\u201d<\/p>\n\n\n\n

A\u011fustos 2017\u2019de, Amerikal\u0131 meslekta\u015f\u0131mla Yunanistan\u2019a yeni bir saha ara\u015ft\u0131rmas\u0131 i\u00e7in yola \u00e7\u0131kmadan tam o g\u00fcn, m\u00fczeye u\u011frad\u0131m; hen\u00fcz B\u00fckre\u015f\u2019e varm\u0131\u015ft\u0131 ve ona bu foto\u011fraflar\u0131n orijinallerini g\u00f6stermek istiyordum. O s\u0131rada fark ettik ki, m\u00fcze kataloglar\u0131nda bir\u00e7ok g\u00f6r\u00fcnt\u00fcn\u00fcn tam yer bilgisi eksikti. \u00d6nceden defalarca gitti\u011fimiz k\u00f6ylerden baz\u0131lar\u0131n\u0131 hemen tan\u0131d\u0131k. Iliochori (Aromanca Dobrinovo) kolayca te\u015fhis edildi \u2014 k\u00f6y meydan\u0131nda Yunanistan\u2019\u0131n belki de en ya\u015fl\u0131 \u00e7\u0131nar\u0131n\u0131 bar\u0131nd\u0131r\u0131yor, bin y\u0131l\u0131 a\u015fk\u0131n \u00f6mr\u00fcyle; oysa bir zamanlar zengin ve kalabal\u0131k olan k\u00f6y, II. D\u00fcnya Sava\u015f\u0131\u2019nda geri \u00e7ekilen Alman birlikleri taraf\u0131ndan ac\u0131mas\u0131zca yak\u0131ld\u0131\u011f\u0131 i\u00e7in bug\u00fcn art\u0131k bamba\u015fka g\u00f6r\u00fcn\u00fcyor. Ayn\u0131 \u015fekilde, ta\u015f mimarisi g\u00fcn\u00fcm\u00fcze kadar bozulmadan gelen Kallarites \/ C\u00e6larli ve Syrako \/ Siracu da kolayca tan\u0131nd\u0131. Ben buralarda, mimarl\u0131k doktoram\u0131n bir b\u00f6l\u00fcm\u00fcn\u00fc yazmak i\u00e7in haftalar ge\u00e7irmi\u015ftim. G\u00f6zlemlerimiz hemen m\u00fcze defterlerine kaydedildi; ar\u015fiv sorumlusu Simina B\u00e6dic\u00e6, m\u00fczenin sayfas\u0131nda yapt\u0131\u011f\u0131 bir payla\u015f\u0131mda, bir ar\u015fiv k\u00fcrat\u00f6r\u00fc i\u00e7in en iyi g\u00fcn\u00fcn, ba\u015fkalar\u0131ndan kendi kli\u015feleri hakk\u0131nda yeni \u015feyler \u00f6\u011frendi\u011fi g\u00fcn oldu\u011funu yazd\u0131. Yandaki foto\u011fraf Simina taraf\u0131ndan \u201c\u00e7al\u0131nm\u0131\u015f\u201d: ben ve ara\u015ft\u0131rma orta\u011f\u0131m, k\u00f6ylerden \u2014 adlar\u0131n\u0131 anarak \u2014 oral\u0131 Aromanlardan ve hik\u00e2yelerinden s\u00f6z ederken \u00e7ekilmi\u015f. Ama baz\u0131 foto\u011fraflar bizim i\u00e7in de birer s\u0131rd\u0131. O anda Yunanistan\u2019daki \u00f6nceki rotam\u0131z\u0131 de\u011fi\u015ftirip, b\u00fct\u00fcn foto\u011fraflar\u0131n yerini belirlemeye karar verdik; ayn\u0131 kadrajla, y\u00fcz y\u0131l sonra, Manakia karde\u015flerin Aroman k\u00f6ylerini yeniden foto\u011fraflamaya koyulduk.<\/p>\n\n\n\n

\u0130ki g\u00fcn sonra Kuzey Makedonya\u2019dayd\u0131k. Kru\u0161evo (Aromanca Cru\u0219uva) kasabas\u0131n\u0131n foto\u011fraf\u0131nda, Samurca\u015f\u2019\u0131n el yaz\u0131s\u0131yla \u015fu not vard\u0131: Comuna Cru\u0219uva, 1903 Bulgar isyan\u0131 s\u0131ras\u0131nda T\u00fcrkler taraf\u0131ndan yak\u0131ld\u0131, 15 A\u011fustos<\/em>. Yapmam\u0131z gereken, karde\u015flerin \u015fehri hangi noktadan foto\u011fraflad\u0131klar\u0131n\u0131 tam olarak saptamakt\u0131. Kru\u0161evo bir \u201ccomun\u00e6\u201d de\u011fil, k\u00fc\u00e7\u00fck bir kasabad\u0131r; Balkanlar\u0131n en y\u00fcksekteki kasabas\u0131; daha \u00f6nce s\u00f6z\u00fcn\u00fc etti\u011fim Moscopole\u2019den ka\u00e7an Aromanlar\u0131n bir k\u0131sm\u0131n\u0131n s\u0131\u011f\u0131nd\u0131\u011f\u0131 yer. Zamanla onlara \u201cMijaci\u201dler \u2014 antropolojik a\u00e7\u0131dan son derece ilgin\u00e7 bir Slav Makedon toplulu\u011fu \u2014 ile zaman i\u00e7inde slavla\u015fm\u0131\u015f Ortodoks Arnavutlar, Yunanlar ve \u00e7evreden gelen Slav Makedonlar kat\u0131ld\u0131. 19. y\u00fczy\u0131lda Kru\u0161evo \u00f6nemli bir ticaret merkezi h\u00e2line geldi. Buradaki Vlah t\u00fcccarlar, Viyana ve Budape\u015fte ile, hatta Orta Avrupa\u2019n\u0131n ba\u015fka kentleriyle ticari ili\u015fkiler kurmu\u015flard\u0131. Bu zenginlik, h\u0131zl\u0131 bir modernle\u015fme ve Avrupal\u0131la\u015fmay\u0131 beraberinde getirdi; o refah\u0131n izi bug\u00fcn h\u00e2l\u00e2 g\u00f6r\u00fclebilen fakat y\u0131k\u0131nt\u0131ya d\u00f6n\u00fc\u015fm\u00fc\u015f evlerde okunur: Osmanl\u0131 \u00fcslubu ile Venedik unsurlar\u0131n\u0131n ve Orta Avrupa mimari ayr\u0131nt\u0131lar\u0131n\u0131n birle\u015fti\u011fi, \u201cBalkan \u00fcslubu\u201d diye adland\u0131r\u0131labilecek b\u00fcy\u00fcleyici bir kar\u0131\u015f\u0131m.<\/p>\n\n\n\n

1903\u2019te, Aziz \u0130lya g\u00fcn\u00fcnde, Kru\u0161evo halk\u0131 Osmanl\u0131 y\u00f6netimine kar\u015f\u0131 ayaklan\u0131r; bu nedenle tarih kitaplar\u0131nda \u201c\u0130linden Ayaklanmas\u0131\u201d diye an\u0131l\u0131r. \u0130syan\u0131n ba\u015f\u0131nda bir Aroman  \u2014  Pitu Guli  \u2014  vard\u0131r. Bir cumhuriyet ilan edilir; tarih\u00e7ilerin \u201cKru\u0161evo Manifestosu\u201d dedi\u011fi bir bildiri yaz\u0131l\u0131r. Bildiri, din ve etnik k\u00f6ken g\u00f6zetmeksizin, Makedonya\u2019daki t\u00fcm topluluklara Osmanl\u0131lara kar\u015f\u0131 birlikte sava\u015fma \u00e7a\u011fr\u0131s\u0131 yapar. 20. y\u00fczy\u0131l ba\u015f\u0131 Balkanlar\u0131 i\u00e7in b\u00f6ylesine \u00e7ok uluslu ve \u00e7ok dinli bir cumhuriyet fikrinin ola\u011fan\u00fcst\u00fc modern oldu\u011funu teslim etmeliyiz. Osmanl\u0131 yetkilileri ba\u015fta isyan\u0131 \u00f6nemsemez; \u015fehrin k\u00fc\u00e7\u00fck ve izole oldu\u011funu d\u00fc\u015f\u00fcnerek dikkate almazlar. Sonra korkuya kap\u0131l\u0131r ve n\u00fcfusla k\u0131yaslanmayacak b\u00fcy\u00fckl\u00fckte bir asker\u00ee g\u00fc\u00e7 g\u00f6nderirler. Buna ra\u011fmen Kru\u0161evo beklenmedik derecede uzun s\u00fcre direnir: 10 g\u00fcn boyunca. Bu s\u00fcrede halk ola\u011fan\u00fcst\u00fc bir \u00f6rg\u00fctlenme sergiler; kararlar almak i\u00e7in 60 ki\u015filik bir \u015fehir konseyi kurarlar (20 Aroman, 20 Makedon, 20 Yunan \u2014 kasaban\u0131n t\u00fcm etnik gruplar\u0131 e\u015fit temsil edilsin diye), kilise \u00e7anlar\u0131n\u0131 eritip silah yaparlar, bir m\u00fchimmat at\u00f6lyesi kurarlar.<\/p>\n\n\n\n

Manakia Karde\u015fler, \u015fehrin T\u00fcrkler taraf\u0131ndan yak\u0131lmas\u0131ndan iki g\u00fcn sonra Kru\u0161evo\u2019ya gelir ve bug\u00fcn elimizde olan o foto\u011fraf\u0131 \u00e7ekerler. 2017 A\u011fustos\u2019unda, tam da o foto\u011fraf\u0131 elimizde tutarak Kru\u0161evo sokaklar\u0131n\u0131 ad\u0131m ad\u0131m dola\u015ft\u0131k, \u00e7ekimin tam yerini bulmak i\u00e7in. Hemen ke\u015ffettik; ama a\u00e7\u0131n\u0131n kendisi yaln\u0131zca yakla\u015f\u0131k g\u00f6r\u00fcn\u00fcyordu. Yeni foto\u011fraf ya \u00e7ok a\u015fa\u011f\u0131dan ya da \u00e7ok yukar\u0131dan \u00e7\u0131k\u0131yordu, bulundu\u011fumuz soka\u011fa g\u00f6re. K\u0131sa s\u00fcrede anlad\u0131k ki, eski foto\u011fraf asl\u0131nda bug\u00fcn bir evin bulundu\u011fu, iki soka\u011f\u0131n aras\u0131ndaki bir noktadan \u00e7ekilmi\u015fti. Bir y\u00fczy\u0131l, \u00e7ok \u015feyi de\u011fi\u015ftiriyor. Bu durumda eldeki imk\u00e2na ba\u015fvurduk: drone. M\u00fclk\u00fcn \u00fczerinden \u00e7ekim yapabilmek i\u00e7in\u2026 Ev sahipleri do\u011fal olarak tela\u015fla d\u0131\u015far\u0131 f\u0131rlay\u0131p bizi azarlad\u0131; ancak k\u0131sa s\u00fcrede tatl\u0131 dille aram\u0131z d\u00fczeldi ve antropolo\u011fun ula\u015fmak istedi\u011fi yere vard\u0131k: evin i\u00e7ine \u2014 Vasko ve Ljubica\u2019n\u0131n salonuna; kahveye ve hepsinden \u00f6nemlisi, \u00e7ocuklar\u0131 ve torunlar\u0131 aras\u0131nda hik\u00e2yelere. \u0130simleri Slavca t\u0131n\u0131lansa da ev sahipleri Aromand\u0131. S\u00f6zc\u00fckler akt\u0131k\u00e7a, yerin tarihi insan suretine b\u00fcr\u00fcnd\u00fc. Burada i\u015fittiklerimi aktarmayaca\u011f\u0131m; belki bir g\u00fcn ba\u015fka bir kitab\u0131n konusu olacaklar.<\/p>\n\n\n\n

2017 A\u011fustos\u2019unda yapt\u0131\u011f\u0131m\u0131z saha ara\u015ft\u0131rmas\u0131ndaki foto\u011frafla 1903 A\u011fustos\u2019unda Manakia karde\u015flerin foto\u011fraf\u0131n\u0131 yan yana koydu\u011fumuzda, o d\u00f6nemden \u00e7ok az evin bug\u00fcn h\u00e2l\u00e2 ayakta oldu\u011funu g\u00f6rd\u00fck. Turistik rehberler \u015fehri, 1903\u2019teki y\u0131k\u0131mdan sonra \u201cneredeyse ayn\u0131 bi\u00e7imde\u201d yeniden in\u015fa edilmi\u015f gibi sunar. Ama g\u00f6rsel kar\u015f\u0131la\u015ft\u0131rma beni ba\u015fka bir sonuca g\u00f6t\u00fcrd\u00fc: yeniden in\u015fa yakla\u015f\u0131k olmu\u015f; 19. y\u00fczy\u0131ldaki refahtan \u00e7ok uzakta. Tam olarak yeniden yap\u0131lan tek yap\u0131 Aroman kilisesi. Kru\u0161evo\u2019nun ah\u015fap oymac\u0131l\u0131\u011f\u0131nda usta sakinleri vard\u0131; orada i\u015fitti\u011fim bir rivayete g\u00f6re, ikonostas \u00fczerinde y\u0131llarca \u00e7al\u0131\u015fan usta, i\u015fini bitirdikten k\u0131sa s\u00fcre sonra kilise T\u00fcrkler taraf\u0131ndan yerle bir edilmi\u015f. Y\u0131k\u0131m\u0131 \u00f6\u011frenince akl\u0131n\u0131 yitirmi\u015f; ya\u015fam\u0131n\u0131n geri kalan\u0131nda bir e\u015fe\u011fin s\u0131rt\u0131nda \u015fehrin sokaklar\u0131n\u0131 ama\u00e7s\u0131zca dola\u015f\u0131rken, anlams\u0131z s\u00f6zler m\u0131r\u0131ldanarak g\u00f6r\u00fclm\u00fc\u015f.<\/p>\n\n\n\n

Manakia karde\u015flerin foto\u011fraf\u0131ndaki bir ba\u015fka ayr\u0131nt\u0131 da \u00e7arp\u0131c\u0131 bir ke\u015ffe g\u00f6t\u00fcrd\u00fc. Kru\u0161evo\u2019da konu\u015ftu\u011fumuz insanlar, foto\u011fraf\u0131n alt\u0131ndaki Samurca\u015f notundan ho\u015fnut de\u011fildi. Notta \u201c1903 Bulgar devrimi s\u0131ras\u0131nda yak\u0131ld\u0131\u201d yaz\u0131yordu; onlar ise \u00e7ekingen bir sesle bunun \u201cMakedon devrimi\u201d oldu\u011funu, kendilerinin Bulgar olmad\u0131\u011f\u0131n\u0131 s\u00f6ylediler. Balkanlarda kimlik hik\u00e2yesi son derece karma\u015f\u0131k ve mu\u011flakt\u0131r. 20. y\u00fczy\u0131l ba\u015f\u0131na kadar, bug\u00fcnk\u00fc Kuzey Makedonya\u2019n\u0131n Slav halk\u0131 Avrupal\u0131 seyyahlar ve tarih\u00e7iler taraf\u0131ndan \u201cBulgar\u201d diye adland\u0131r\u0131l\u0131yordu. Kendileri de \u201cBulgar\u201d derlerdi; ama bug\u00fcnk\u00fc Bat\u0131 Bulgaristan\u2019daki kom\u015fular\u0131na o d\u00f6nemde \u201cBulgar\u201d de\u011fil, en s\u0131k \u201c\u0160opi\u201d derlerdi. Ancak bu adlar 1900\u2019lerde bug\u00fcnk\u00fc anlamlar\u0131n\u0131 ta\u015f\u0131m\u0131yordu; daha ziyade \u201cetnografik\u201d terimlerdi. Etniden farkl\u0131 kimliklerin \u00f6nem kazanmas\u0131 fikri, 19. y\u00fczy\u0131l sonu ile 20. y\u00fczy\u0131l ba\u015f\u0131n\u0131n karma\u015f\u0131k siyasal ve tarihsel ba\u011flam\u0131nda \u015fekillenmeye ba\u015flad\u0131.<\/p>\n\n\n\n

Bug\u00fcn Kuzey Makedonya halk\u0131, kendilerine ait ayr\u0131 bir tarih\u00ee ve etnik kimlikten gururla s\u00f6z ediyor. G\u00f6r\u00fc\u015fmelerimde \u015funu da g\u00f6rd\u00fcm: baz\u0131lar\u0131 \u2014 aralar\u0131nda Aromanlar da olmak \u00fczere \u2014 bu kimli\u011fi B\u00fcy\u00fck \u0130skender\u2019e kadar g\u00f6t\u00fcr\u00fcyor. Elbette, tarihsel olarak \u0130skender ne Slav ne de Vlah olabilirdi\u2026 Ama kimlik dokusu daha da karma\u015f\u0131kla\u015f\u0131yor: bir yandan \u201cBiz Makedonuz, Bulgar de\u011filiz\u201d diyorlar; sonra \u201cBiz Vlah\u0131z\u201d diyorlar: \u201cVlahlar Latin, Slav de\u011fil.\u201d Ne anlamak gerekir? Olduk\u00e7a \u00e7ok \u015fey. \u00c7\u00fcnk\u00fc antropolo\u011fun g\u00f6revi tarihsel do\u011frular\u0131 saptamak de\u011fil, bir toplulu\u011fun kimli\u011fini nas\u0131l kurdu\u011funu anlamakt\u0131r: belirsiz ve \u00e7eli\u015fkili y\u00f6nleriyle; \u00e7o\u011fu kez hayal\u00ee olay ve hik\u00e2yelerle; ama insanlar\u0131n derin anlam y\u00fckledi\u011fi bir \u00f6rg\u00fc i\u00e7inde.<\/p>\n\n\n\n

Ki\u015fisel olarak, her t\u00fcrl\u00fc tarihsel, genetik ya da antropolojik hakikatin \u00f6tesinde, \u015funa inan\u0131r\u0131m: herkes kendini istedi\u011fi gibi tan\u0131mlama hakk\u0131na sahiptir \u2014 yeter ki ayn\u0131 hakk\u0131 kom\u015fusuna da tan\u0131s\u0131n. Yerel insanlarla ileti\u015fimimizi bozmamak i\u00e7in, yan\u0131m\u0131zda getirdi\u011fimiz Manakia foto\u011fraf\u0131n\u0131n alt\u0131ndaki o mill\u00ee notu kesip att\u0131k. Ve daha sonra fark ettim ki, hi\u00e7 planlamadan, sadece ayn\u0131 noktadan de\u011fil, ayn\u0131 g\u00fcn de foto\u011fraf \u00e7ekmi\u015fim \u2014 Manakia karde\u015flerden tam 114 y\u0131l sonra. Daha \u00f6nce takvim fark\u0131n\u0131 hesaplamam\u0131\u015ft\u0131m; o d\u00f6nemde h\u00e2l\u00e2 J\u00fclyen takvimi y\u00fcr\u00fcrl\u00fckteydi. 13 g\u00fcnl\u00fck fark\u0131 ekleyince zaman\u0131n k\u0131vr\u0131mlar\u0131n\u0131n nas\u0131l \u00e7ak\u0131\u015ft\u0131\u011f\u0131n\u0131 anlad\u0131m: Foto\u011fraf\u0131 tam ayn\u0131 g\u00fcn \u00e7ekmi\u015ftik! Bir antropolog kolay kolay i\u015faretlere, \u201cy\u0131ld\u0131zlar\u0131n hizalanmas\u0131na\u201d inanmaz; ama bu rastlant\u0131, 1900\u2019lerin ba\u015f\u0131ndaki Manakia foto\u011fraflar\u0131n\u0131n izinden yeni yolculu\u011fumuz i\u00e7in hay\u0131rl\u0131 bir ba\u015flang\u0131\u00e7 oldu.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Bu foto\u011fraflar\u0131n yeniden \u00e7ekilmesi s\u00fcrecini ba\u015ftan sona anlatmak fazla uzun olur. Kimi zaman kolayd\u0131, kimi zaman zor; kimi zaman ise yaln\u0131zca \u015fans! Yunanistan\u2019\u0131n Arnavutluk ve Kuzey Makedonya ile kesi\u015fti\u011fi k\u00f6\u015fede yer alan Pisoderi\u2019de, 1900\u2019lerin foto\u011fraf\u0131ndan geriye neredeyse hi\u00e7bir \u015fey kalmam\u0131\u015ft\u0131. Yine de, k\u00f6ydeki tek tavernada rastlant\u0131 sonucu kahvesini i\u00e7mek i\u00e7in k\u0131sa s\u00fcreli\u011fine durmu\u015f, orada do\u011fmu\u015f ama \u00e7oktan g\u00f6\u00e7m\u00fc\u015f bir adamla kar\u015f\u0131la\u015fmam\u0131z, foto\u011fraf\u0131n \u00e7ekildi\u011fi yeri tespit etmemize yard\u0131m etti. Evi, eski karede g\u00f6r\u00fclen son yap\u0131yd\u0131; bizim ziyaretimizden yaln\u0131zca \u00fc\u00e7 y\u0131l \u00f6nce yanm\u0131\u015ft\u0131. Kendi evini, ara\u015ft\u0131rma arkada\u015f\u0131m\u0131n tabletinde kay\u0131tl\u0131 Manakia foto\u011fraf\u0131nda bize g\u00f6sterdi. Tan\u0131nmam\u0131\u015f bir k\u00f6y\u00fc, yaln\u0131zca eski bir g\u00f6r\u00fcnt\u00fcden yola \u00e7\u0131karak bulmak; insanl\u0131\u011f\u0131n \u00e7ok \u00fcnl\u00fc bir mek\u00e2n\u0131n\u0131n y\u00fczy\u0131l sonra tekrar foto\u011fraf\u0131n\u0131 \u00e7ekmekten kat kat zordur. Kuzey Yunanistan\u2019\u0131n sakl\u0131 k\u00f6\u015felerinde \u00e7ok dola\u015ft\u0131k ve b\u00fcy\u00fck keyif ald\u0131k. Hik\u00e2yeler bold(u); bazen Kru\u0161evo\u2019dakinden bile daha sembolik tesad\u00fcflerle dolu. G\u00f6z\u00fcmde Manakia karde\u015fleri canland\u0131rd\u0131m: devasa foto\u011fraf makineleriyle, kat\u0131rlar\u0131n s\u0131rt\u0131nda; y\u00fczy\u0131l \u00f6nce bu patikalardan \u2014 bug\u00fcn bile g\u00fc\u00e7 g\u00f6r\u00fcnen yollardan \u2014 ge\u00e7iyorlar.<\/p>\n\n\n\n

Aral\u0131k 2021\u2019de, Noel\u2019den hemen sonra, Metsovo \/ Aminciu\u2019da \u2014 Yunanistan\u2019daki en b\u00fcy\u00fck Aroman yerle\u015fimi; bana \u00e7ok \u00f6zel gelen bir g\u00fczellik ve \u015fiirselli\u011fe sahip \u2014 Manakia karde\u015flerin ayn\u0131 kadraj\u0131yla seriyi tamamlad\u0131m. Benim foto\u011fraf\u0131m da onlar\u0131nki gibi k\u0131\u015f\u0131n \u00e7ekilmi\u015fti. Modern Yunanistan, Metsovo toplulu\u011funa \u00e7ok \u015fey bor\u00e7ludur; \u00fclkenin modern tarihi, bu k\u00fc\u00e7\u00fck Pind kasabas\u0131n\u0131n tarihi olmadan anla\u015f\u0131lamaz. Nitekim Atina Politeknik \u00dcniversitesi\u2019nin ad\u0131 h\u00e2l\u00e2 Metsovion\u2019dur ve Yunanistan\u2019\u0131n modern tarihi, k\u00f6keni buradan olan Averoff ailesi an\u0131lmadan anlat\u0131lamaz.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Bu proje i\u00e7in eski haritalara ba\u015fvurmak zorunda kald\u0131m. \u00c7\u00fcnk\u00fc bu izole k\u00f6ylere giden yollar, bir y\u00fczy\u0131ll\u0131k zaman i\u00e7inde \u00e7ok de\u011fi\u015fmi\u015fti. Do\u011fal peyzaj bile b\u00fcy\u00fck \u00f6l\u00e7\u00fcde d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fc. Sand\u0131\u011f\u0131m\u0131n aksine, Yunanistan\u2019\u0131n da\u011flar\u0131 bug\u00fcn Manakia karde\u015flerin foto\u011fraflar\u0131na k\u0131yasla \u00e7ok daha ormanl\u0131k ve vah\u015fi. A\u00e7\u0131klamas\u0131 basit: art\u0131k da\u011f yama\u00e7lar\u0131n\u0131 yiyip t\u00fcketen b\u00fcy\u00fck koyun s\u00fcr\u00fcleri yok; k\u00f6yler b\u00fcy\u00fck \u00f6l\u00e7\u00fcde bo\u015falm\u0131\u015f, yaln\u0131zca birka\u00e7 ki\u015fi ya\u015famaktad\u0131r. Yerle\u015fimlerin adlar\u0131 da \u00e7o\u011fu kez 1900\u2019dekinden farkl\u0131 oldu\u011fundan ar\u015fivlere ba\u015fvurmak ka\u00e7\u0131n\u0131lmazd\u0131.<\/p>\n\n\n\n

En \u00e7ok i\u015fime yarayan kaynak, yaz\u0131l\u0131\u015f \u00f6yk\u00fcs\u00fcyle bile ola\u011fan\u00fcst\u00fc olan bir kitapt\u0131: The Nomads of the Balkans. An Account of Life and Customs among the Vlachs of Northern Pindus. Balkan Vlahlar\u0131n\u0131n ya\u015fam\u0131 ve adetlerine ili\u015fkin bu ba\u015fvuru eseri, iki \u0130ngiliz arkeolog Alan J. B. Wace ve Maurice S. Thompson taraf\u0131ndan kaleme al\u0131nm\u0131\u015f ve ilk kez 1914\u2019te yay\u0131mlanm\u0131\u015ft\u0131. Kitap, Pind k\u00f6ylerinin 20. y\u00fczy\u0131l ba\u015f\u0131ndaki d\u00fcnyas\u0131n\u0131 \u2014 Manakia karde\u015flerin foto\u011fraflar\u0131n\u0131n tarihlendi\u011fi d\u00f6nemi \u2014 yerinde ve ayr\u0131nt\u0131l\u0131 bi\u00e7imde tasvir eder. K\u00fct\u00fcphanemde eserin ilk bask\u0131s\u0131ndan bir n\u00fcsha bulunmas\u0131ndan memnunum; \u00e7\u00fcnk\u00fc kitab\u0131n hik\u00e2yesi, iki arkeolo\u011fun bamba\u015fka bir d\u00fcnyay\u0131 ve toplulu\u011fu anlama \u00e7abas\u0131n\u0131n hik\u00e2yesidir \u2014 herhangi bir antropolo\u011fun merak\u0131n\u0131n \u00f6z\u00fcn\u00fc olu\u015fturan bir ihtiya\u00e7.<\/p>\n\n\n\n

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XX. y\u00fczy\u0131l ba\u015flar\u0131ndan kalma bir harita: Metsovo (bug\u00fcnk\u00fc Yunanistan) do\u011fumlu V. Diamandi Aminceanu taraf\u0131ndan haz\u0131rlanm\u0131\u015f olup Pindus\u2019taki yerle\u015fimlerin Aroman adlar\u0131n\u0131 g\u00f6stermektedir.<\/figcaption><\/figure>\n\n\n\n

\u0130ngiliz arkeologlar, Volos yak\u0131nlar\u0131ndaki antik sitlerde kaz\u0131 yaparken tesad\u00fcfen, tuhaf bir leh\u00e7e konu\u015fan \u00e7obanlarla kar\u015f\u0131la\u015f\u0131rlar. K\u0131smen anlayabilirler; zira klasik arkeologlar olarak Latince bilirler. \u00c7obanlar\u0131n anlatt\u0131klar\u0131ndan, da\u011flarda hayal bile edilemeyecek \u00f6l\u00e7\u00fcde izole bir d\u00fcnyan\u0131n varl\u0131\u011f\u0131n\u0131 \u00f6\u011frenirler. 1910\u20131912 aras\u0131nda, yani Birinci Balkan Sava\u015f\u0131 patlak vermeden hemen \u00f6nce, Helenistik d\u00fcnya arkeolojisine olan tutkular\u0131n\u0131 bir kenara b\u0131rak\u0131p Vlahlar\u0131 incelemeye koyulurlar. T\u0131rnavos\u2019tan Samarina\u2019ya, \u00e7obanlarla birlikte y\u00fcr\u00fcyerek yol al\u0131rlar ve b\u00f6ylece avant la lettre<\/em> do\u011frudan ve kat\u0131l\u0131mc\u0131 bir saha ara\u015ft\u0131rmas\u0131 ger\u00e7ekle\u015ftirirler. Antropoloji disiplinlerinin \u00f6z\u00fcn\u00fc temsil eden bu y\u00f6ntem k\u0131sa s\u00fcre sonra Malinowski taraf\u0131ndan kuramsalla\u015ft\u0131r\u0131lacakt\u0131r. \u0130ngiliz ikilinin yenilik\u00e7i \u00e7abas\u0131, kitaplar\u0131n\u0131 yaln\u0131zca Aromanlar\u0131n tarihi i\u00e7in de\u011fil, antropolojinin b\u00fct\u00fcn\u00fc i\u00e7in anlaml\u0131 k\u0131lar.<\/p>\n\n\n\n

Photo-elicitation \u2014 \u0130ngilizcede b\u00f6yle adland\u0131r\u0131l\u0131r \u2014 g\u00f6rsel antropologlar\u0131n s\u0131k\u00e7a kulland\u0131\u011f\u0131 bir y\u00f6ntemdir; insanlar\u0131n g\u00f6r\u00fcnt\u00fcler kar\u015f\u0131s\u0131nda duygusal tepki verdi\u011fini bilirler. Pind k\u00f6ylerinde insanlar k\u00f6k yerle\u015fimlerine derinden ba\u011fl\u0131d\u0131r; art\u0131k ba\u015fka yerlerde ya\u015fasalar, yaln\u0131zca yazlar\u0131 k\u0131sa s\u00fcre geri d\u00f6nseler bile. Oralarda, k\u00f6ylerinin bir as\u0131r \u00f6nceki h\u00e2lini g\u00f6ren ve muhtemelen yerle\u015fimlerinin \u00e7ekilmi\u015f ilk foto\u011fraf\u0131yla kar\u015f\u0131la\u015fan insanlar\u0131n derinden sars\u0131ld\u0131klar\u0131na tan\u0131k oldum. Hik\u00e2yeler ve an\u0131lar, yan\u0131mda Manakia karde\u015flerin kareleri olmasayd\u0131 oldu\u011fundan \u00e7ok daha kolay akt\u0131.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Kabul etmeliyim: zaman\u0131n ak\u0131\u015f\u0131n\u0131n k\u0131sa devre yap\u0131p bir d\u00f6ng\u00fcye d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc duygusal ve \u00f6zel bir histi bu. Tam olarak ayn\u0131 yerde ama bir as\u0131r \u00f6tede bulunmak; elinde tuttu\u011fun bir foto\u011fraf arac\u0131l\u0131\u011f\u0131yla, kendi \u015fimdini ask\u0131ya alan, ge\u00e7mi\u015fin belle\u011finde donmu\u015f bir ger\u00e7ekli\u011fe bakmak. Baz\u0131 yerlerde, evlerin i\u00e7inde, bende olanla t\u0131pat\u0131p ayn\u0131 foto\u011fraflar\u0131 buldum; ama ev sahipleri bunlar\u0131n ne kadar eski ve nereden geldiklerini bilmiyordu. \u00d6rne\u011fin Laista \/ Laka\u2019dan bir kare \u2014 Zagori da\u011flar\u0131n\u0131n bir zamanlar en b\u00fcy\u00fck yerle\u015fimi: k\u00f6y meydan\u0131ndaki bir bayram g\u00fcn\u00fc. Orada da \u00f6zel bir hik\u00e2ye ya\u015fad\u0131m; ama yeri ba\u015fka bir kitab\u0131n i\u00e7inde olacak. Eyl\u00fcl 2024\u2019te ise Bitola ar\u015fivlerinde ayn\u0131 foto\u011fraf\u0131n \u00fc\u00e7\u00fcnc\u00fc bir versiyonuna rastlamak \u015fans\u0131na eri\u015ftim: asl\u0131nda k\u0131r\u0131lm\u0131\u015f bir cam negatifin par\u00e7as\u0131. Ayn\u0131 g\u00f6r\u00fcnt\u00fc, bug\u00fcn\u00fcn Balkanlar\u0131nda \u00fc\u00e7 farkl\u0131 \u00fclkede korunuyordu.<\/p>\n\n\n\n

Beni ilgilendiren \u015fey yaln\u0131zca y\u00fcz y\u0131l \u00f6nceki kareleri ayn\u0131 kadrajla yeniden \u00e7ekmek de\u011fildi. Bu, daha \u00e7ok, izole Balkan topluluklar\u0131n\u0131n i\u00e7ine girebilmek, bug\u00fcnk\u00fc ya\u015fam tarzlar\u0131n\u0131 g\u00f6rebilmek i\u00e7in bir yol oldu \u2014 d\u00fcnk\u00fcn\u00fc de\u011fil. \u0130\u015fte bu y\u00fczden, bu g\u00f6rsel antropoloji projesine bir noktada verdi\u011fim ad \u201cD\u00fcn\u00fcn \u00d6tesinde\u201d oldu. Soru \u015fuydu: Vlah d\u00fcnyas\u0131 ne kadar de\u011fi\u015fti? Genel olarak Balkanlar son y\u00fczy\u0131lda ne kadar d\u00f6n\u00fc\u015ft\u00fc? Bu sorulara yan\u0131t ar\u0131yordum.<\/p>\n\n\n\n

Foto\u011fraf, sahada ara\u015ft\u0131rma yapmak i\u00e7in ola\u011fan\u00fcst\u00fc yararl\u0131 bir ara\u00e7 oldu\u011funu kan\u0131tlad\u0131; k\u00fc\u00e7\u00fck d\u00fcnyalar\u0131n ve izole topluluklar\u0131n, tarihin ezici ak\u0131\u015f\u0131 alt\u0131nda nas\u0131l d\u00f6n\u00fc\u015f\u00fcp de\u011fi\u015ftiklerini anlamaya g\u00f6t\u00fcren bir yol. Bu y\u00fczden, eski foto\u011fraflar\u0131n yeniden \u00e7ekilmesi ve yerlerinin belirlenmesi i\u015fi bitmi\u015f olsa da, saha projem tamamlanmaktan \u00e7ok uzak. Umuyorum ki bir g\u00fcn bir kitaba ya da belgesel filme d\u00f6n\u00fc\u015fecek. \u00d6n\u00fcm\u00fczdeki y\u0131llarda, yine sahada, Manakia karde\u015flerin izinde; y\u00fcz yirmi y\u0131l \u00f6ncesinden bug\u00fcne uzanan zaman\u0131n s\u00fcreklili\u011fi ya da kopu\u015fu i\u00e7inde bug\u00fcn\u00fcn hayat hik\u00e2yelerini ke\u015ffetmek istiyorum \u2014 antropolojik olarak, bu ya\u015fam \u00f6yk\u00fclerinden kendi tarihimizin seyrini, burada, Balkanlar\u2019daki evimizde anlamak i\u00e7in.<\/p>\n\n\n\n

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<\/p>\n","protected":false},"excerpt":{"rendered":"

Ben bir antropolo\u011fum ve antropoloji, \u00e7o\u011fu zaman k\u00fct\u00fcphane ya da ar\u015fiv \u00e7al\u0131\u015fmalar\u0131n\u0131n aleyhine bile olsa, do\u011frudan sahayla y\u00fcz y\u00fcze gelmeyi […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-47","page","type-page","status-publish","hentry"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"tr","enabled_languages":["en","ro","el","sq","mk","tr","bg","ka"],"languages":{"en":{"title":true,"content":true,"excerpt":false},"ro":{"title":true,"content":true,"excerpt":false},"el":{"title":true,"content":true,"excerpt":false},"sq":{"title":true,"content":true,"excerpt":false},"mk":{"title":true,"content":true,"excerpt":false},"tr":{"title":true,"content":true,"excerpt":false},"bg":{"title":true,"content":true,"excerpt":false},"ka":{"title":false,"content":false,"excerpt":false}}},"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/beyondyesterday.org\/tr\/wp-json\/wp\/v2\/pages\/47","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/beyondyesterday.org\/tr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/beyondyesterday.org\/tr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/beyondyesterday.org\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/beyondyesterday.org\/tr\/wp-json\/wp\/v2\/comments?post=47"}],"version-history":[{"count":39,"href":"https:\/\/beyondyesterday.org\/tr\/wp-json\/wp\/v2\/pages\/47\/revisions"}],"predecessor-version":[{"id":801,"href":"https:\/\/beyondyesterday.org\/tr\/wp-json\/wp\/v2\/pages\/47\/revisions\/801"}],"wp:attachment":[{"href":"https:\/\/beyondyesterday.org\/tr\/wp-json\/wp\/v2\/media?parent=47"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}