Sohrap Sepehri’yi ve bu mektubunu çok seviyorum. Hep defterimde, telefonumda bir yerlerde durmasına dikkat ediyorum. Pemra da uzakta olunca sanki bu sefer ona ithaf etmek istedim, ikisini bir düşündüm gibi oldu. Bakalım o da sevecek mi?
Bu da Duygu’yla dün akşam konuşurken çektiğim fotoğraf. Anlattıklarını kaydedemedim ben de buna yükledim hepsini. Sadece yaptığın işe odaklanmanın önemini anlatıyordu gerçi biraz ironik olmuş ama o da buraya katılmış, etiketlenmiş olsun böylece. 🙂
Sohrab Sepehri’nin şair arkadaşı Ahmad Reza Ahmadi’ye New York’tan yazdığı mektup:
Sevgili Rıza tembelliğin de bir sınırı var. Biliyorum. Ama inan hep aklımdasın. Ve yolladığın mektuplar için teşekkür ederim. Ben şiddetle bu şehirde kalakaldım. Hem de kuşsuz ağaçsız bu şehirde. Henüz hiç kuş sesi duymadım (kuş olmadığı için sesi de yok tabi.) Bizim Emir Abad’daki [Tahran’da bir semt] her karaağaçta çuval dolusu cik cik olurdu. New York’ta cik cik sesi ?!
Bir beklentim yok. Sadece var olmaya çalışıyorum. Ve bazen bu şehirde Gulaş yiyorum. Sanırım sen seviyordun ve Ghormesabzi’nin [bir İran yemeği] yerine koymuştun. Gulaş daha az ilham veriyor. Tasalanmamak lazım. Bir tas Gulaş yemek lazım, ve yürümek, ve yolda gördüklerine bakmak lazım. İlkokul çocukları gibi, hayatları bizimkinden daha hacimli.
Biliyor musun, bir yere doğru gitmek, bir şeye başlamak lazım.
Bazen başlıyorum. Ama her zaman olmuyor. Odamdaki sandalyeye başlamadım mesela. Nuh’un ömrü de hiç fena değilmiş. Ama kanaat etmek lazım. Ve ben ediyorum. Mesela bir karganın dörtte bir gaklaması bana yeter. Birine yazmıştım: Bir kanaryanın dörtte üçünü duyuyorum diye. Görüyor musun, daha da kanaatkar olmuşum. Doğrudur, karganın sesinin niceliği daha çok belki ama niteliği yok. Annem gak sesinin bazı hastalıklara iyi geldiğini söylerdi.
Gündüzleri resim yapıyorum. Dünyanın duvarlarında, yeni tablolar için yer var hala. O zaman daha hızlı çalışalım. Çalışmak lazım. Ama gaz lambasının dumanını yutmayalım. Burada çok daha temiz dumanlar var. Dayanıklı ve su geçirmez dumanlar. Bazen yolda yürürken bir parça duman gelip samimiyetle omzuma oturuverir, bu şehrin göstereceği tek yumuşak başlılık budur. Yoksa odamın penceresinden görünen o vinçten samimi bir şekilde omzuna oturmasını bekleyemezsin. Zaten vinçe yakışır bir davranış değil. Eğer böyle bir şey yaparsa, ailesinin asaletine leke sürmüş olur. Bu şehirde yumuşak olmana izin yok, utanamazsın ve kimseyi kutlayamazsın. Turp yiyemezsin. Böyle ağır binaların arasında turp yemek rezillik olur. Bir gökdeleni gıdıklamak gibi bir şey.
Buranın adetlerini öğrenmek lazım. Mesela ağaçların yapraklı olması adettendir. Bu şehirde nane bulunur ama onu içtenlikle yemelisin. Burada uzatmak hiç adet değil. Bir fikir caddenin ortasına yan gelip uzanamaz. Burada çimentodan yükseğe düşünmek daha uygun olur. Ya da metalin öte yanına doğru. Ben resim yapıyorum. Ama resimlerim buradaki galeriler için fazla içbükey kalıyor. Resim de o menem işlerden. İnsanın derisini yüzüyor. Üstelik beklentileri de bitmiyor. Fazla yüz vermemek lazım yoksa resim insanın tepesine biniyor.
Resimleri üstüne çullanmış bir sürü insan gördüm burada. Biraz silahlanıp resmin peşine öyle düşmek lazım. Bazen düşünüyorum da şiir daha şefkatli geliyor bana. Yine de fazla iyimser olamıyorum; şiirin elinden polise şikayet eden bir sürü insan tanıyorum. Dikkatli olmak lazım. Geceleri şiir okuyorum. Henüz yazmadım. Yazmam lazım.
Resim yapıyorum, şiir okuyorum ve birliği görüyorum. Ve bazen evde yemek yapıp bulaşık yıkıyorum. Ve parmağımı kesiyorum. Ve birkaç gün resim yapamıyorum. Yemeklerim lezzetli oluyor, tuz ve biber ve hoşgörü katmışsam eğer.
Annemin yemekleri ne güzeldi. Bir de tutup yemeğin rengi neden koyu diye bahane buluyordum.
İnsan çok geç anlıyor.
Ben çok geç anladım, insan demek alelacele demekmiş.
İran’ın iyi anneleri, lezzetli yemekleri, kötü aydınları ve güzel ovaları var.
on a scheduled day, at an appointed place to come together dance make a sound build relieve like in the old times An open event for every age and every state of being. To be able to exist with our bodies and sounds at least for two hours in a day of the week. The only thing that is needed is comfortable clothes. Not a background of a dancer, not two feet, not two arms. The theme of this week has shaped by the notebook that I have just found on my table. I have written these words on it, months and months ago: “Dance and move are transformative. Or they are like getting into a wheel, activating, starting the body. As an example of my relationship with moving from my personal life, I feel active in every field when my body is moving, the body just does instead of thinking. When my body is in a less active state, I start to think, excuses, laziness, procrastination, questioning starts to appear. Dance is something that is done, so does philosophy, concepts exists when you create them. It is about making. Things happen when they are made, not when they are thought. I feel this lethargy in my own self and in our country, social media accounts and the internet leads to a passive stage. They passivize the body – which has already being passifized in school desks for years and years (further addition) – As technology progress, movement of the body diminishes, we live with less effort, we use our bodies less and as our bodies got passive, we turn into passive individuals. Maybe we stop wondering what are we able to do. Or I do not know how are my different emotions appear when my body is in different shapes. I think differently while I am walking, sitting, differently while I am lying down.”
This was a caption from a Facebook event that I randomly saw on my timeline in the middle of January 2019. When I encountered this invitation, I got excited because I was already “thinking” about the same issues:
That we are starting to lose our connection with movement and with our bodies as time passes,
that reconnection is needed.
That I have started to be paralyzed.
That we need to invite playing and moving more in our lives again.
So as soon as possible, I have attended to the occasion which took place in Yol Atölye at Ayrancı, Ankara. Yol Atölye is a small place which is run by a group of people who are interested in physical theatre, for their rehearsals and plays. We went there with my friend Serap, both of us were unaware of what is waiting for us there. Duygu and a group of people – who I will slowly start to learn their names: Özgür, Abdülwahab, Özgür’s mother and brother greeted us.
First, we sit in a chamber and we claimed our intention on why we were there. I said, “to get out from my self.” After that, we have started to walk randomly around the room. We thought about our day from the part that we woke up. Moments in the day, the roads which we took, the moments which we lived, the emotions we have felt. We thought about the roads bring us out there. And with our steps in the room, we have remained to arrive there taking our times. Our steps brought us to the room. After the arrival is completed, we remained walking randomly, without taking usual paths and routes, with our eyes semi-open and without giving so much attention to around. We have only let the colors to flow towards us.
We have opened our eyes and tried to catch each other’s eyes. It felt embarrassing. When I encounter with a smiley and comfortable face, I felt good, but when I could not catch any eyes, I was feeling embarrassed and shy. I could not look to the eyes in the long seconds.
We kneeled on our for hands and started to escape from something in the jungle. While running, we stood up to our feet and remained escaping. Then we started to chase something. We have run to different parts of the room and kept chasing. We run, stopped, looked at somewhere different in the room as the thing we chase is in there, and we run to that direction. Duygu asked: “What is the difference between escaping and chasing?” After a while, as we catch the thing we chase, we hold it.
Then, while we were walking slowly, we tried to walk and move like some parts of our bodies are pulling us. Our heads, feet, arms, hands, knees… “I was actually wanted to go theeeree!” “I was intended to do something else!” Duygu were pronouncing theatrically. Soon I started to enjoy but when I encounter with Serap in the room, I was getting easily distracted. Too much interested in others, I was mostly outside of my own self. Was she getting bored? Was everyone okay? Everyone comfortable with their bodies? Was I looking ugly, what will others think if I do something like this or that? “Let’s not hold our breaths” she were saying. Was I doing it right? My attention was always on the others,
however, my body was not resisting the joy come with movement.
We again started to walk randomly around the room, trying not to go in a given path, we started to dancing with our feet. Only feet of us were moving and nowhere else. (Lillies of the Valley were playing) Feet were getting close to each other and moving away from each other. They said “hi” and “bye” to each other in their own way. “What else are my feet capable of doing?” They explored their moving capabilities. Soon after, knees joined them. “My knees have their back too!” Then hips, backs, chests, shoulders, elbows, wrists, hands, necks, heads, with all the capabilities of our own bodies, within our own limits, we have started to explore our limits. Without holding our breaths. “Dance of the feet” was a small little name which won a seat on my mind. 🙂
We started to walk randomly again, but backward. (Phil Ochs – Changes were playing) We thought about our happy moments, memories and emotions backward while walking backwardly.
For closure, we did a circle and somebody was at the center with eyes closed. Everyone massaged the one in the center. After the massage, with small fingertip touches, we did “rain” to the one at the center. In the end, we swept them with our hand palms. Everyone was at the center once in order. I was nervous again with the thoughts in my mind. Is the person in the center have problems with being touched? Would it awake some memories which can re-traumatize the person? Hence, I have observed that two of us were pretty nervous when they are in the center. Nothing big happened though, but they were not going to appear in our further meetings.
For my first attendance on Modern Rituals, these are the moments which stood in my mind after four months. There are natural things that are being misremembered or misordered and there are naturally so many gaps between exercises. For this reason, as I will be able to catch up them, I will be updating here. Maybe the other participants, that have attended the session on 21st of January, read and make additions to the content.
Beginning from the very first session, I have started to feel and realize things about my body and my attitude. For example,
– I have realized that my body wanted to move but I did not give enough attention to it, for years. I felt good when I was moving. All those years passed with consuming too much alcohol and dancing at the pubs were a signal of my body that needed to emancipate and move.
– I quit consuming that much alcohol and spending my limited economical and biological sources to the pubs. Because I know that my body wants to move, not to be depreciated, and to be free, alcohol is not necessary. Myself and maybe if I am lucky, some playmates are enough.
– I have learned that I need to breathe deeply, not to smoke cigarettes.
– I have started to join Seperate Togetherness meetings thanks to Duygu and Gökçen who I met in Modern Rituals, and I have remained to meet beautiful people, thoughts and places through that lovely meeting.
– I quit escaping my eyes from the eyes of the others. I have learned to look at people without forcing myself for making a mimic or feeling forced to say something. I have learned plainly being eye to eye without getting nervous.
– I have developed beautiful relationships through that playground. I went to my first tent – camp holiday and made my first hitchhiking travel. I have lighted my first fire that we have sing and dance around it.
– I have walked on a slackline for the first time. I never thought that I could manage it.
– I have learned that most of the obstacles are in my head. And when I send a powerful breath to them, most of the struggles get softened.
– I have learned to hug differently, I do not know in which terms, but I feel the difference. I feel that I am hugging the souls of the people when I hug.
– I have learned that I can be spontaneous, I can give up what other people think, I can move on my own motives.
– I have learned when we can dance with people, we can do so much other things with them without giving so much effort. Being able to dance together in harmony, teaches how to be in flow.
– I have started to learn Arabic from Abdülwahab that I met at these sessions of Modern Rituals, and together we have made a decorative tiny – little table.
– I have learned how to sew a waistback from Duygu.
– I have learned so cool games to play with kids and also grown ups (because the movement has no age).
– I have met with METU Contemporary Dance Community and I have learned that I am capable to dance days long without going home.
– I do not think what other people think about how I move anymore as in my first session.
– I have changed my perception on touching and being touched, lifting and being lifted, supporting and being supported, being precluded and overcoming the preclusions.
– I have learned that my body is capable so many things that I can imagine, that I cannot know without trying. So, keeping on trying is essential to not being caught by automatical perceptions on what am I capable of.
– I have learned that once the movement comes in life, it gives momentum to the core of being, which makes this list an endless one.
Thank you Duygu Bostancı, thank you Modern Rituals, thank you dance, so glad you are exist.
First workshop that I have attended in Contemporary Dance Festival in METU was Deniz Atlı’s workshop on Contemporary Dance Technique and Improvisation. I have seen her before in her performance with Nisan Ter, Target – 12’den at Kovan Art Space. It was a performance about two young and somehow sui generis characthers who struggle with society, themselves and each other. They are in search of themselves while trying to resist to external factors. Preparation of the performance is based on improvisation exercises and the process of improvisation is being transferred to the stage. Thusly, every performance will be different than before, performance will change endlessly. Mikado sticks were used on a little table for a dialogue starter between two characters. Cameras and lighting were in center nearly as performers. Stage and audiance were sharing the space in same levels. Performance also contained a space for dialog with the audience via usage of different mediums such as of space, mirrors or cameras. As well as playfulness that keeps the energy dynamic in space, usage of Contemporary Dance Techniques, lifts, jumps, wallowings were used in a hypnotising way.
The performance was very inspiring for me because I was in a time of my life that I was exploring my sui generis features and struggling with my social anxieties, about school, career, approval, love, friendship, movement and etc. I was dealing with the question of including movement in my life more. The manifest of the performance haunted me for this reason. I was in fact seeking a message in it, as I did with everything around me. That is to say, inspiring part of the performance for me was the content, the message, and the usage of professional techniques, movement of bodies.
After the show, she offered their feedback notebook to the audience. She seemed that she gives importance to audience feedbacks. I focused on the powerful message then, and left a message in terms of that. However, after Contemporary Art Days, I understood that negative thoughts are also needed and welcomed. So, maybe I would prefer to see the performance in a plainer way. But I am not sure what media and photographers would feel about a plain show. Might media seek extravagancy to find a performance worth spreading? Did the artists considered PR while they are preparing? There were too much and too big photograph machines, it were keeping me to focus on movement.
In conclusion, when the show is over, I felt both mesmerised by the technique and the message, as well as irritated from all those flashs, cameras and crowdedness of the scenes.
So, it was the first Contemporary Dance Show that I have witnessed. And as a coincidence, the first serious Contemporary Dance Workshop that I have attended was again Deniz Atlı’s. My impression about her is deeply positive. She spreads a very modest energy, however she is senior on her field. This energy remains while she is in her artist shoes and also while she is in her lecturer shoes. She feels like a person to learn so much things from.
She appeared in a Sidi Larba t-shirt. I have watched a show online before via Duygu’s suggestion. We begin the workshop with a small warm – up. While we are standing still, our fingers started to move. Then, our hands, elbows, shoulders, backbones, chests, backs, heads, hips, legs, knees and feet added to them one by one. Little to big movements. Then she showed us a set with a couple of movements and repeated the set until we catch it. Turn, curve, roll, twist… My memory of sets is very weak, so I have just tried to attune. After showing the set, she asked us walk randomly with one arm up. Then hold somebody’s hand. There, İlayda hold me and we have started to create our own set with seven moves and one lift. Since it was my first, it was a little bit challenging but İlayda remained calm and gentle. We have started with six moves plus one lift (because she gave importance to equality, the group attuned to us who have less moves), then five plus one and four plus one, then we added the given set to our own set.
It was like a preview of difficult, powerful, joyful, embarassing and mesmerising moments that can be lived while dancing.
Invitation of the Creature: an Essay on animal being by Carlos Espinoza
On Contemporary Dance Days in METU, one of the powerful performances was animal being. It was on the stage on May 2nd, 2019. animal being is one of the performances which transform the questions in our head before we know. The light is slowly turned on, on stage. Something is lying there. A creature. What is that? What it wears? What is the sound that it is making? Will the stage remain without objects? How will the dance look? Which animal? The creature does not speak, it is just observing. He is groveling, standing up, groveling, looking, snuffing. It is like it does not see any meaning around, it does not know what meaning is. There are no meaning or thoughts, there is “being”.
Being, seeing, doing.
Just like babies.
Infinite exploration. Look at the Creature! Now it invites! It does not say
“come here”, it does not fold its hands and invite with its hands. We find
ourselves joining him, towards our own inner creatures. While the anklets are
tinkling, we start to tap our feet to the ground. We want to join, rather than
watching.
Being, seeing,
doing.
Thusly, within the flow of the performance, questions become plainer: is it possible to invite someone without asking a question, without holding and pulling? We accept the invitation. There are no questions and answers. There are no “come” and “I’m coming”, now we are there. On the stage, it is just a representation of our who are sitting. Now, it is a representation. Of our inner paths.
On stage, there
is nothing it can conclude with its body. An anklet becomes an instrument, and
a mask becomes an expression.
“For me, solitude
is like a folded forest, which I carry with me and open in case of need.”
(Clarissa P. Estes – Women Who Run with the Wolves)
The creature carries its forest with itself. The anklet becomes a forest.
Hi. I am twenty-five years old and this year I am exploring dance with my educated eyes and baby steps. My education is on Social Sciences and my steps of the dance are baby steps. Therefore, I thought that recording and sharing the fresh impression of this new involvement could be meaningful. Because art fields generally seem close for outsiders, it generally seems that people start to interest with these kinds of fields from their very young ages. For that reason, it carries the risk for always looking at the field from an insider’s eyes. Nothing new. Nothing to be transferred. No bridges between the artists and “ordinary people.” Interactivity is limited. This blog composed of writers from different levels of involvement with dance. Can I invite the movement to the center of my life? Or can I move myself to the center of movement and dance? Is it late? We will see. I had never been in a dance class aside from a temporary participation in some traditional Circassian Dance groups. My posture and flexibility are probably comes from my ethnical roots of moving. When a piece of music played, Qafa, Sheshen or Apsua, aisles of our home used to start being marked by our joyful steps on tiptoe (a necessary type of walking for the traditional Caucasian dance). However, I have never been in intimate relation with the technique of movement. Oh, and there is Rituals of Modern Times, which connects me to the movement and so much other things nowadays, it is a thing in itself, which I will talk about later in another script.
Today, I have attended the third day of sixteenth Contemporary Dance Days in METU. I feel that some clogged veins of my perception have already begun to be opened. I am exploring the possibilities of movement. Also, the emancipatory feature of the contemporary dance field reveals itself in workshops and performances. It is opening a new space for thinking about action, seeing things in different ways, in different levels, spaces, qualities, dimensions.
First of the observations that I could make is social, of course. Dancers and dance enthusiasts seem like they are always open to communicate. There is an ongoingly awake state coming from being active, which allows to catch up eye contact and moving together.
Being together while moving, creates new and colorful bonds between people, these bonds are invisible but so powerful that nearly can be seen. Communication just happens. It does not important what brand are you wearing, or how sweaty you look, what socio-economical background you have, which family you are coming from, and etc. movement does matter: What you do does. It was different in traditional Circassian Dance equip. That area did not felt free or emancipatory, these features that I have mentioned above was always at stake, there were always strict social norms and given rules of movement. The dance was also very strict and close to improvisation: Girls must look delicate and move with little gestures, boys must look epic and warrior-ish: I think it comes from the history, there is a mass historical background on war, nearly five hundred years. Nowadays, it is haunting to think about relationships of movement tones and lifestyles, dances and cultures, how they shape each other and re-create how-ness of doing, relating, talking, sitting, thinking, seeing things and etc. for me. I am planning to work on this topic in detail, in the near future.
So yeah, I was talking about Contemporary Dance, which is the opposite of traditional Caucasian dances, at least for me.
Since beginning of the days, I have attended ten workshops and witnessed to eight performances and I took notes on them, at the end of the days, I will share my notes, as I could catch, in here. Tonight, thoughts about writing a dance scene haunted me. Contemporary Dance has this inviting energy, it feels welcoming, playful, and gives hope about keeping a space for your expression of yourself. It keeps you an extra chair for everyone. At least, it is how I felt at the and of the third day of intensive involvement of workshops and performances.
Georgia sanki minik minik araladığım kapıları açmış içindekilerin şööyle bir tadına bakmış şimdi de beni içeri davet ediyor gibi.
Geçen gün Georgia ile Yaratıcı Yalnızlık (ya da Separate Togetherness) buluşmamızın sonlarına gelmiştik kii birden sihirli bir kutuymuşçasına açılıp odayı renkten renge boyadı. Ama en çok da kırmızıya.
Dünya düzenini başka yerlerden okumamı sağlayan mitolojik hikayeler, efsaneler, kızkardeşlik öyküleri, kadın çemberleri ve yoni çıktı içinden. Yoni, Sanskritçe’de vajina ve/veya yaratıcı güç-yaşamın kaynağı anlamına gelen kelime. Katıldığı tek günlük bir kadın toplaşmasından bahsetti ki dinlerken aklım çıktı. Kolaylaştırıcının kendi yonisi üzerinden bütün yapıyı ‘gözler önüne serdiği’, kadınların başka kadınlar tanıklığında kendi yonilerini keşfettiği bir buluşmaymış bu. Kadının içindeki yaratma gücüyle bağlantı kurması üzerine tasarlanmış bir gün.
Onu dinlerken içime akan birkaç not:
Yoniyi ‘kullanmak’ yerine, onu dinlemek, sevgiyle dokunmak ve sana öğretmesine izin vermek.
Gizlendiği yerden çıkarmak ve tanışmak.
Ben daha o bağlantıyı kuramamışken bir partnerin doğru bağlantıyı kurmasını beklemek makul mü?
Nerden baksan içimizde yaratı için bir alan var! Toprak gibi, boşluklu ve üretici ihtimallere gebe. Georgia’yı dinlerken toprakta gözlemlediğim yapının nerdeyse aynısının bedenimde olduğunu anladım. Toprağın ‘ana’lığını idrak ettim.
Görülme ihtiyacı olarak deneyimlediğim şey aslında yonimin benim tarafımdan görülmesi ihtiyacıymış belki de, beni gör beni duy dermiş.
***
Kaçınılmaz olarak arketiplere ve mitolojiye geldi konuşmamız. İşte kırmızıçadır’ı ilk kez ondan böyle dinledim. Eski anlatılara göre kadınlar şamboli oldukları zaman kırmızı çadır ismiyle anılan ortak alanda bir araya gelip o bir haftayı birlikte geçirirlermiş. O bir haftada kadınların birer kanal gibi her şeye daha açık olduğu, zihinlerinin ‘dreamy stage’de olduğu söylenirmiş. Bir haftanın sonunda çadırdan çıktıklarında onlara akan bilgeliği toplumun geri kalanıyla paylaşırlarmış. Yaşamak hali içinde, yavaş yavaş.. Erkekler, kadınları dinler, onlardan gelen bilgiler ışığında sunarlarmış hizmetlerini. Avlanma, koruma kollama, tohum saçma ve kim bilir başka neleer..
Kırmızıçadır ritüeli farklı yaş gruplarını bir araya getirmesi, bilgi ve deneyim aktarımını sağlaması açısından da çok fantastik görünüyor. Bostancıyla hep konuştuğumuz gibi, belgesel yolculuğumuzda bazen heyecanla bazen hüzünle fark ettiğimiz gibi, bu aktarım kanalları birer birer kayboluyor hayatımızdan. Dergah da yok şimdi, pirler de. Usta da yok yanına çırak alsın bizi.
(Yol gösterenim, ustam, kalbimdir, düsturuna eyvallah! Ama toplumsal bir hayvansak jenerasyonlar arası iletişimin kıymetini yadsımak, hayatın lezzetini azaltıyor.)
Çeşit çeşit kadın bir araya gelip kahve içtiğimizde ortaya çıkan ruhu hatırladınız mı?
Kocaman, büyülü bir sayfa, dişil, yaratıcı enerjiyi keşfetmek. Ve onun erille dansını, iç yankılarıyla dış yansılarını..
Kırmızıçadır belki bir gün, büyür büyür bir çatı olur bizi yeniden bir araya getiren, diye hayallere daldık Bostancıyla konuşurken..
Georgia ile başladı, Georgia ile bitsin:
Truth flows and pours from our veins
shows through the light in our eyes
grows from our bones
and feeds on our sweat.
Truth hopes we never will forget
that our dance is not a solo
but a symphony of exchanges
dynamic, vast, surprising,
We play.
We come together,
we separate
as one
-Georgia Lily Shine.
Not: Sevgili komuşumuz Gürcistanla aynı ismi paylaşmaları da çok tatlı bir dokunuş, kim düşündüyse iyi düşünmüş.
Tatlı annemin aman dokunma dediği ellerim, tekrar dokunmayı öğrenmekte.
Bostancı, sözleştiğimiz gibi bir hafta dolmadan iki çizim yapmayı başardım! Aslına bakarsan başka hayvanlar da denemiştim mesela bir fil, silüeti fena olmadı ama gözlerinin etrafı, hortumunun yüzüyle bağlandığı yer.. oraları taklit etmeye çalışırken filden çok uzaklaştık. Sinefin ve Kemal’in de bizle olduğu papağan masalının ardından aynı kitaptan kuşlar çizdim.
Pilot kalemle boyamak nasılmış ki diye denerken papağancığı da biraz bozdum ama yine de gönderiyorum. Sen de hayvanlarını buraya yükle 🙂 Bunlar haftalık yaratıcılık sözlerimizin ilk ürünleri!
kırmızıçadır 