Field Engagement in İmbros (13–15 June)
The İmbros phase marked the beginning of EGEHUB’s embodied research. Each event was designed to examine how different sensory, spatial, and interpersonal modalities activate forms of memory and perception that remain inaccessible through narrative alone. Moderators supported the flow and ethics of these encounters, and attendance varied between 8–50 participants depending on the activity.
Umut Kambak’s Film Screening Çıkmaz Sokak
Material and Spatial Memory Workshop
Moderated by Yiğit Türüdü with the participation of 10 artists and researchers, this workshop investigated how domestic objects, abandoned structures, and agricultural topographies encode layered historical experience. Participants closely observed architectural residues, storage practices, and environmental textures, identifying how memory becomes embedded in material infrastructures even when explicit narratives fade.
Documentary Screening (Kaykaki)
Organized by Duvarlar Bile Biliyor and moderated by Ezgi Ceylan, the screening gathered approximately 50 residents, 8 artists, and 2 researchers. The documentary’s themes—partial return, intergenerational tension, displacement, sensory recall—created a shared interpretive frame for understanding the island’s contemporary social landscape.
Workshop: Timeleon and Kemal Hoca on Imbros
This workshop featured a single-shot documentary capturing an intimate conversation between two central figures of the island: Timeleon, an island-born, self-taught musician, and Kemal Yazgan, a retired teacher from the former Gökçeada Teacher Training School. The film was conceived as a one-take, uninterrupted recording—eschewing the narrative interventions typical of fictional documentaries. Instead of guiding the viewer toward a predetermined interpretation, the single-plan approach preserves the immediacy of the moment, allowing meaning to emerge naturally through the encounter itself.
By refusing cuts, direction, or aesthetic manipulation, the recording invites viewers to witness the dialogue as it unfolded, leaving space for personal interpretation and emotional resonance. This form was chosen deliberately: to honor the integrity of the island’s oral histories and to foreground the act of listening as a method of research.
The workshop followed the screening of the Kaykaki documentary and opened into a horizontal discussion circle, bringing together researchers, artists, and participants. This shared space created a rare moment of reciprocal exchange—where memory, music, pedagogy, and local experience intertwined.
Participating DBB Artists:
Umut Kambak, Alp Tugan, Metehan Köktürk, Alara Çivici, Yiğit Türüdü
Reference:
Kaykaki Documentary — https://www.youtube.com/watch?v=6Fm50LiHWgU
Live Music and Dance Workshops
The music event led by Timoleon brought together around 50 residents and 10 participants, while the folk dance workshop moderated by Olcay Arat included 12 residents, artists, and researchers. These activities allowed participants to encounter memory as a rhythmic, kinetic, and non-verbal process.
Rhythm Workshop (Uğur Manay)
Moderated exclusively by Uğur Manay and attended by around 15 participants, this workshop focused on rhythm as a perceptual and mnemonic modality. Through collective drumming, syncopation exercises, and improvised rhythmic sequences, participants examined how bodily coordination and sonic repetition produce forms of memory that are felt rather than narrated.
Culinary Encounter (Ada Mutfakları)
Moderated by Ezgi Ceylan with 25 residents, 8 artists, and 2 researchers, this encounter examined cooking as a historical practice that transmits demographic, cultural, and sensory knowledge.
Village Walk (Shinoudi)
Guided by Ezgi Ceylan, the Shinoudi walk involved 12 residents and 8 artists. Walking functioned as a spatial inquiry method that made visible the architectural layering of the island: abandoned houses, selectively restored buildings, relocated infrastructures, and agricultural fields shaped by demographic shifts.
Evening Storytelling
Moderated by Sevgi Gültekin and attended by around 40 residents and 10 participants, these session provided insight into the emotional, partial, and sometimes ambivalent ways in which islanders relate to their own histories.
Imrbros Artistic Residence:
In addition to the workshops held on Imbros, four artists (Alp Tuğan, Umut Kambak, Metehan Köktürk and Alara Çivici) were hosted under the coordination of Yiğit Türüdü as part of the program. Over three days, these artists worked collectively across the island—sharing methods, field observations, and experiments while engaging deeply with the landscape. Guided by Türüdü’s facilitation, the group collaborated fluidly, allowing their individual practices to intersect and influence one another.
