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Projects

impro / play, site-specific performance shaped by Hatipoglu’s practice-based research project, in which she proposed improvisational plays that could stimulate creativity in group improvisation. The site-specific performance took place at the outdoor terrace of the Sakip Sabanci Museum, Emirgan, as part of the Istanbul Fringe Performing Arts Festival 2022. The performance was inspired by the juxtaposition of urban and natural sounds and environment of the museum. The preparation process was based on ‘Emotion Play’* experiences. Designing the sound objects was a collaborative effort between Demiralp and Hatipoğlu. The recorded sounds of the objects were used to create a fix media piece called ‘Emotion Orchestra’ which played during the performance. The selected items were placed in the performance space for the audience to interact with. The performance consisted of two sections that took place in two different spaces. In the first part, the violoncello sounds shifted between musical genres and were added to the sounds of the city and nature that existed in the event space. The second section consisted of a workshop in which participants could share their impressions of the play. Participants were tasked with designing objects that represents various emotions, and then performing their individual pieces using these objects. The workshop had offered an experiential space, encouraging sharing ideas, connection and cooperation between the participants.

Namutena (Documentary video, 2017), A “na-mute-na” musical event: De Gentrifying a Demolition Site, documentary music project realized by me with the support of Onebeat, 2016. Musicians and Creative Team of the project: Tolgalainen Birøkter, Özlem Ünsal , Gökhan Deneç, Çağdaş Acar, Hasan Serin, Anıl Gün ,Batuhan Oguz, Can Gürses, Osama Badawe, Ruşen Can Acet, Merve Salgar, Yarkın Duo, Haydar Cengiz, Laçin Şahin, Mertcan Bilgin, Karakamu, Eray Gedik, Özgür Mert Yavru, Mehmet Ali Hatipoğlu, Ahmet Sinan Hatipoglu.

“A decisive intervention into a myriad of social and economic conditions, including basic accommodation, designed for the greater wealth of rich minorities: the omnipresence of “urban regeneration projects”, in other words. Being pushed to the outskirts of the city, where no sense of belonging can be established and their social, cultural, and historical heritage will be irreversibly lost, some disadvantaged groups have been in resistance and thus, found a voice on media. Elsewhere, transformation is now almost habitual; rapid changes in physical and social settings, as well as the total destruction of historic structures without a single attempt of preservation and restoration are now part of our everyday life: muted and mundane. Bagdat Caddesi on the Asian side of Istanbul is a microcosm of transformation projects since the effects of the whole process on the inhabitants are in stark contrast. This avenue and a demolition site alluding to the abovementioned “muted transformation” are chosen as the concert venue to unmute the place and record it as part of the city’s collective memory.” I would like to thank Özlem Ünsal for her kind contribution. 

The Answer My Friend, Is Blowin’ In The Wind, is a site-specific sound installation in collaboration with sound artist Gökhan Deneç realized in Apartman 52 (2021), Yeldeğirmeni/Istanbul, a historical apartment building transformed into an art gallery before the renovation process and hosted an exhibition for one-month duration with the participation of 23 artists. The creative concept is based on the collection of memories of the building itself and surrounding the neighborhood Yeldegirmeni, Kadikoy. The listener could experience the melding sound elements resembling the past and present of the location and are invited to witness the change in history, demography, immigration and other socio/political events of the neighborhood. As the sound sources were kept visually unnoticable and were installed both on the entrance and top floors, acousmatic sounds surrounded the visitors and had created an ambience of fiction and reality during their stay and a background for other (mostly visual) art works. The sound design consisted of imaginary daily sounds of the building and the neighborhood. There were also composed musical phrases from different genres, which were presumed to remind the cultural diversity of the past.

Listen Entrance Sound: https://on.soundcloud.com/qnKSM
Listen Top Floor Sound: https://on.soundcloud.com/KADY2

ZERO 1 is a dystopic fictional short film, that we realized collectively with director Barkin Coruh, dancer Ekin Tunceli, creative producer Bugra Erol. Sound design and composition was realized by me. ZERO 1 project was realized to appeal to the 5. Short Film Competition 2020 hosted by Sabancı Foundation, in Turkey. That year’s theme was assigned as ‘Changing Climate, Changing Lives’ and among 282 applications, 23 short movies were nominated to be sent to international festivals and ZERO1 was one of them.

On Going Artistic Research About: Free improvisation and Play 
First Stage: 2020-2022 : PRACTICE-BASED RESEARCH ON MUSICAL IMPROVISATION: COLLABORATIVE IMPROVISATION AS A PLAY 
Ph.D Thesis, ISTANBUL TECHNICAL UNIVERSITY (ITU) GRADUATE SCHOOL 
ITU Music For Advanced Studies (MIAM), 2022

Summary: This study seeks to connect play and collective improvisation, and propose play as a creative tool for improvisation to contribute to the field. The thesis offers newly designed improvisatory collaborative plays and provides a methodology to create improvisatory plays, workshop techniques, and a tool-box for collective practices. For the purpose of this thesis, several plays that focus on different sensorial effects were developed, applied and documented. Emotion Play, collaborated with an industrial designer, Gülen Mine Demiralp, aimed to increase emotional awareness and practice it with tactile, auditory and visual components. In Re-Thinking Objects, collaborated with play expert and futurist Yeşim Kunter, transforming everyday objects into sound sources were used to create improvisation. The Listen Before Play focuses mainly on the importance of supporting the listening acts during improvisation. As many extensive listening exercises focus on, this play is an attempt to focus on listening to the sound which the performer produces, as well as listening to the collaborators. In Graphic Notation, group members’ creative interpretation processes aimed to be increased and the practice offers visual and auditory projection. For the workshop, a specific type of notation was offered to observe different interpretations of a single script. The play Maintain Balance focuses on body movements, and by making body movements active within a group dynamic, it aims to investigate an embodied practice, which was developed in collaboration with martial arts expert Çağlayan Ceylan. The last two plays, namely Voicing A Letter and Upside-Down, experiment with the idea of exploring new approaches and performance techniques. These two plays aimed to increase awareness of the members by using their own voices, and by rethinking and experimenting with their instruments, it aimed to explore new performance capabilities. Musical analysis of the improvisation sessions are left outside the scope of this work as the main focus is on developing group dynamics and improving improvisation. To investigate the musical and intellectual preferences of selected Turkish improvising musicians, oral interviews were conducted and transcribed in the appendix section that contains various insights and personal views on improvisation and the concept of play. Finally, a set of play instructions as a toolbox has been provided to would present guidance and help in creative works and education scenarios have been proposed as the main outcome of the work.

Thesis can be download:  Zeynep Ayse Hatipoglu-Doctoral Thesis-2022 July… Research Methodology and ‘Improvisational Play’ Tool Box can be download:  Zeynep Ayse Hatipoglu_Tool Box_2022_July_.pdf

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