
Thursday, Christmas Eve, was our first full day back in Ankara (for Anna and me, that is). Larry stayed in Turkey while I was gone, as he still had classes to teach, and two trips to make to deliver lectures elsewhere in Turkey.
First on the agenda was to reintroduce Anna to downtown Ankara which she hadn’t seen since she was five years old. Since we needed to withdraw some money from our bank account anyway, it seemed the perfect opportunity to take her downtown. Aside: although banking is as sophisticated here as at home (okay, we can stop laughing now given the state of the U.S. economy at the moment), I must physically go to the bank to withdraw money. Unlike most banks here in the capital city, Fortis Bank, the one used by the Fulbright Commission, Larry’s employer, has few branches and none in our neighborhood or near the university. I do have an ATM card from the bank, but have yet to successfully use it. Since our “pay” from Fulbright is in dollars, but ATMs spit out Turkish lira, I must first “sell” my dollars on the ATM and “buy” lira, then deposit the lira amount in my lira account (as opposed to my dollar account), before actually withdrawing money. Even though I can do this in English at the ATM, the transactions may as well be in another language, as I cannot figure out how to do this.
At any rate, off we went to downtown. After the bank, we walked to Tempo Tur to check out tours offered during Anna’s visit (none, alas, that we hadn’t already taken), passing through Kugulu Park where Anna recognized the swans from our frequent visits fifteen years ago.
After a few more errands, we found the bookstore we were looking for to buy tickets to a dance performance that people told us we really shouldn’t miss. Our plan was to buy the cheapest tickets (40 TL, or about $27 each) for the Friday night performance. However, only 120 TL (about $80 each) tickets were available. So we debated buying tickets (60 TL, $40 each) for that very night, Thursday, instead of the next night as planned. The problem was we were exhausted from the trip from the States the day before; also, the price was higher than Larry and I had earlier discussed. Finally deciding to go for it, in retrospect, I’m very glad we did so. The performance was superb.
The evening performance was within walking distance of our apartment at an auditorium housed in a large, spacious tent. It was an unusual structure, in that the foyer had marble floors. So “tent” isn’t exactly the right description, but the walls and ceiling of the audience and performance area were made of thick plastic and soared to several pointed peaks. So “tent” is really the only way to describe the unusual structure.
The dance troupe, called Anadolu Atesi, or Fire of Anatolia, was performing a multi-country tour called “Troya,” which roughly told the story of the Trojan War. The troupe consists of 120 dancers, with specialties in three dance genres: ballet, modern, and traditional folk. With three choreographers and a host of other production specialists, as well as the large number of dancers, the troupe is one of the three largest in the world. Several people mentioned that they are compared to the better known (at least in the U.S.) troupe Riverdance. Personally, I think there is little comparison. Fire of Anatolia is far more interesting and varied in all aspects of production: the dances, the original music, the setting, the costumes, and the story. It was really more of a balletic opera, each stage of which was brilliantly executed.
“Troya” was truly amazing. The staging, animation, and effects were gorgeous and changed seamlessly between dances. The costumes were lush and colorful. The dramatic orchestral and choral music, composed for this production, was powerful (if a little too loud). And the dancers some of the best I’ve ever seen.
The first half introduced the origin of the war, and some of the principle characters, including the meddling gods. These were executed in dance, of course, with occasional wording projected on the back of the set, in both Turkish and English. Then followed an introduction to the various peoples of Anadolu (Anatolia) who joined the Trojan forces; for example, the Lycians, the Phrygians, the Lydians, and the Amazons, among others. Each group of 20 or more dancers, costumed to reflect the individual cultures, danced traditional folk dances from their respective regions. Some groups performed traditional line dances, others step dances, still others exquisite belly dancing. Warriors, on the other hand, depicted their martial prowess through wild twirlings, gesticulations, and brandishing of weapons.
A bit of trivia I picked up from the Web is that Fire of Anatolia is in the Guinness Book of World Records for the fastest stepping in their dances—200+ steps per minute. The most astonishing example was the ending of the first half of the program, when every dancer entered stage right, dancing in a line. As each dancer arrived on stage, none of those already there stepped out of the way to make room for the new arrivals. Instead, within a few minutes, all 120 dancers were strung along a single line at the front of the stage, somewhat squished against each other, while turning and gyrating, kicking and stepping rapidly – all in perfect synchronization. We were enthralled, and the audience erupted in loud cheers. Another Guinness record was audience size for a dance performance; apparently 400,000 people watched a single performance somewhere near the Black Sea.
If all this sounds a bit Busby Berkeleyesque, it was not. Well, I suppose, to some extent it was. But, nonetheless, it was superbly done. The second half was a little more operatic.
The second half highlighted battles, the Trojan Horse, the deaths of Hector and Achilles, and the grief felt by those who lost loved ones. A late peaceful message paid tribute to those who died in all wars, ending with recognition of the futility of war and a plea to avoid future battles.
The battles were depicted as choreographed sword and spear fights – the speed and intensity of the clashing swords caused repeated flashes of sparks from the metal weapons. Other dramas included Hector’s wife in an ethereal evocation of her love for her husband and, later, her agony over his death. The deaths of the main characters were not at all sugar coated. The drama was real, and the dancers unreal.
In some vignettes, the combination of ballet, modern dance, and folk dance was seamless. Of particular note were the rapid twirlings of the male dancers, followed by repeated landings on their knees. My knees ached in sympathy.
The ending was a series of encores, with the large audience clapping in unison, urging them to keep on dancing.
We thought the entire production was a brilliant interpretatiaon of the Trojan War, and we understand why two of Larry’s colleagues recommended we not miss this extraordinary performance.
This production, one of many in the troupe’s repertoire, will travel to several dozen locations in Germany, France, Bangkok and elsewhere throughout 2010. Their earlier performances included one in front of Egypt’s Great Pyramids. One web site indicates that they have performed “Troya” in 75 countries already. "Troya" is only one of the productions in their repertoire; I hope to see another one of their productions sometime in the U.S.
For information about Fire of Anatolia (their Turkish name is: Anadolu Atesi), Wikipedia gives an explanation about their origins and vision, although they list the wrong home website for the troupe. We were surprised that the dance group originated at Bilkent University, our old haunt. The troupe’s official web site is: http://www.fireofanatolia.be/home.php?lg=en The site specific to the “Troya” production is: http://www.fireofanatolia.be/ Some of their pieces can also be viewed on YouTube.
As this was Christmas Eve, Anna and I had bought some cheap Christmas ornaments on our way home from the afternoon’s shopping trip. They were just the right touch we needed to decorate one of our larger houseplants (see above) and add a tiny bit of festive atmosphere to our apartment.








