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Revisiting Trauma: Choreographing the Loss of the Armenian Journalist Hrant Dink
As a choreography of intervention into daily life, Mihran Tomasyan's Sen Balık Değilsin Ki (SBDK) allows viewers a moment not only to remember the assassination of the Armenian journalist Hrant Dink, but also to revisit past and current traumas that need to be reworked by Turkish and Armenian s...
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Published in: | Dance chronicle 2019-09, Vol.42 (3), p.270-295 |
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container_title | Dance chronicle |
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description | As a choreography of intervention into daily life, Mihran Tomasyan's Sen Balık Değilsin Ki (SBDK) allows viewers a moment not only to remember the assassination of the Armenian journalist Hrant Dink, but also to revisit past and current traumas that need to be reworked by Turkish and Armenian societies. I argue that the choreography of SBDK functions as a memorialization of a history of losses, using images and objects as guiding elements to trace the roots of the truth. Through their choreographic revaluation, the objects used in SBDK exceed their inherent functionality and gain new meanings marked by Tomasyan's subjectivity. |
doi_str_mv | 10.1080/01472526.2019.1673112 |
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I argue that the choreography of SBDK functions as a memorialization of a history of losses, using images and objects as guiding elements to trace the roots of the truth. Through their choreographic revaluation, the objects used in SBDK exceed their inherent functionality and gain new meanings marked by Tomasyan's subjectivity.</description><identifier>ISSN: 0147-2526</identifier><identifier>EISSN: 1532-4257</identifier><identifier>DOI: 10.1080/01472526.2019.1673112</identifier><language>eng</language><publisher>New York: Routledge</publisher><subject>artistic subjectivity ; assassination ; Assassinations & assassination attempts ; choreographic objects ; Choreography ; Collective memory ; Dance ; Dink, Hrant ; Hrant Dink ; Journalists ; journalists and danger ; loss ; memory ; Sen Balık Değilsin Ki (SBDK) ; Subjectivity ; Tomasyan, Mihran ; Trauma</subject><ispartof>Dance chronicle, 2019-09, Vol.42 (3), p.270-295</ispartof><rights>2019 Taylor & Francis Group, LLC 2019</rights><rights>2019 Taylor & Francis Group, LLC</rights><lds50>peer_reviewed</lds50><woscitedreferencessubscribed>false</woscitedreferencessubscribed></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><link.rule.ids>314,776,780,27901,27902</link.rule.ids></links><search><creatorcontrib>Ersöz, Ayrin</creatorcontrib><title>Revisiting Trauma: Choreographing the Loss of the Armenian Journalist Hrant Dink</title><title>Dance chronicle</title><description>As a choreography of intervention into daily life, Mihran Tomasyan's Sen Balık Değilsin Ki (SBDK) allows viewers a moment not only to remember the assassination of the Armenian journalist Hrant Dink, but also to revisit past and current traumas that need to be reworked by Turkish and Armenian societies. I argue that the choreography of SBDK functions as a memorialization of a history of losses, using images and objects as guiding elements to trace the roots of the truth. Through their choreographic revaluation, the objects used in SBDK exceed their inherent functionality and gain new meanings marked by Tomasyan's subjectivity.</description><subject>artistic subjectivity</subject><subject>assassination</subject><subject>Assassinations & assassination attempts</subject><subject>choreographic objects</subject><subject>Choreography</subject><subject>Collective memory</subject><subject>Dance</subject><subject>Dink, Hrant</subject><subject>Hrant Dink</subject><subject>Journalists</subject><subject>journalists and danger</subject><subject>loss</subject><subject>memory</subject><subject>Sen Balık Değilsin Ki (SBDK)</subject><subject>Subjectivity</subject><subject>Tomasyan, Mihran</subject><subject>Trauma</subject><issn>0147-2526</issn><issn>1532-4257</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>2019</creationdate><recordtype>article</recordtype><recordid>eNp9kMtOwzAQRS0EEqXwCZUisU4Z27GdsKIqj4IqgVBZW25ity5JXOwU1L8nIYUlqxnN3DuPg9AIwxhDCleAE0EY4WMCOBtjLijG5AgNMKMkTggTx2jQaeJOdIrOQtgAYJIRNkAvr_rTBtvYehUtvNpV6jqarp3XbuXVdt2Vm7WO5i6EyJmffOIrXVtVR09u52tV2tBEM6_qJrq19fs5OjGqDPriEIfo7f5uMZ3F8-eHx-lkHucU0iYuTLKkhOPC5JlZKpxSnrFEZyRNlRE0B5GkJBOUcbbUiVGcYaEVAHDBCyU4HaLLfu7Wu4-dDo3c9OcESWj7KABNRativSr37QdeG7n1tlJ-LzHIDp78hSc7ePIAr_WNet8mNM7_mZKUJQKgm3vT921tnK_Ul_NlIRu1L503LYvcBkn_X_ENNrF-NQ</recordid><startdate>20190902</startdate><enddate>20190902</enddate><creator>Ersöz, Ayrin</creator><general>Routledge</general><general>Taylor & Francis, Ltd</general><general>Taylor & Francis Ltd</general><scope>AAYXX</scope><scope>CITATION</scope><scope>7TS</scope></search><sort><creationdate>20190902</creationdate><title>Revisiting Trauma: Choreographing the Loss of the Armenian Journalist Hrant Dink</title><author>Ersöz, Ayrin</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-LOGICAL-c308t-df4b3261dfc9fba1836954e9288af73c07482973565be4fa6517ea000676da763</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng</language><creationdate>2019</creationdate><topic>artistic subjectivity</topic><topic>assassination</topic><topic>Assassinations & assassination attempts</topic><topic>choreographic objects</topic><topic>Choreography</topic><topic>Collective memory</topic><topic>Dance</topic><topic>Dink, Hrant</topic><topic>Hrant Dink</topic><topic>Journalists</topic><topic>journalists and danger</topic><topic>loss</topic><topic>memory</topic><topic>Sen Balık Değilsin Ki (SBDK)</topic><topic>Subjectivity</topic><topic>Tomasyan, Mihran</topic><topic>Trauma</topic><toplevel>peer_reviewed</toplevel><toplevel>online_resources</toplevel><creatorcontrib>Ersöz, Ayrin</creatorcontrib><collection>CrossRef</collection><collection>Physical Education Index</collection><jtitle>Dance chronicle</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Ersöz, Ayrin</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>Revisiting Trauma: Choreographing the Loss of the Armenian Journalist Hrant Dink</atitle><jtitle>Dance chronicle</jtitle><date>2019-09-02</date><risdate>2019</risdate><volume>42</volume><issue>3</issue><spage>270</spage><epage>295</epage><pages>270-295</pages><issn>0147-2526</issn><eissn>1532-4257</eissn><abstract>As a choreography of intervention into daily life, Mihran Tomasyan's Sen Balık Değilsin Ki (SBDK) allows viewers a moment not only to remember the assassination of the Armenian journalist Hrant Dink, but also to revisit past and current traumas that need to be reworked by Turkish and Armenian societies. I argue that the choreography of SBDK functions as a memorialization of a history of losses, using images and objects as guiding elements to trace the roots of the truth. Through their choreographic revaluation, the objects used in SBDK exceed their inherent functionality and gain new meanings marked by Tomasyan's subjectivity.</abstract><cop>New York</cop><pub>Routledge</pub><doi>10.1080/01472526.2019.1673112</doi><tpages>26</tpages></addata></record> |
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subjects | artistic subjectivity assassination Assassinations & assassination attempts choreographic objects Choreography Collective memory Dance Dink, Hrant Hrant Dink Journalists journalists and danger loss memory Sen Balık Değilsin Ki (SBDK) Subjectivity Tomasyan, Mihran Trauma |
title | Revisiting Trauma: Choreographing the Loss of the Armenian Journalist Hrant Dink |
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