The Rabow Crcent: the Integratn of the Gay Turkish Communy Germany - Humany Actn

Contents:

• EXPLORE VAST AND HIDN GAY TURKEY
• GENR BENRS, GAY INS AND MEDIA: LBIAN AND GAY VISUAL RHETORIC TURKEY
• THE RABOW CRCENT: THE INTEGRATN OF THE GAY TURKISH COMMUNY GERMANY

EXPLORE VAST AND HIDN GAY TURKEY

Though homosexualy is not nsired a crimal offence (same-sex sexual activy beg legalised by the Ottoman Empire 1858), tolerance towards gay people is limed and s of vlence have been known to occur.

LGBT people are currently not protected by law, and Ankara meanwhile, a prohibn on all LGBT activy has been the bad news out of the way, remas to be said that travellers who act wh discretn, gay and straight alike, are unlikely to experience any trouble while Turkey. Turkey’s most open-md cy, Gay Istanbul n easily be found the area around Taksim but be reful when explorg lser-veloped areas outsi of the centre, the tradnal muny of Tophane for example where tourists may not be weled que so Dpa Galani2. In 2007, Kaos GL, a bimonthly publitn of the Kaos Gay and Lbian Cultural Rearch and Solidary Associatn Ankara, Turkey, voted s November/December issue to “Turkiye’n Gay Ikonlari” (Turkey’s Gay Ins).

“Indian Gay Ins: Queers Like Us, A Tribute to Indian Gay Ins” was scribed by Bombay Dost, a lol LGBT magaze, as “an exhibn of Indian gay ins featurg some of the te lears of the queer stggle who also spell excellence their profsn” (The Bombay Dost Team).

GENR BENRS, GAY INS AND MEDIA: LBIAN AND GAY VISUAL RHETORIC TURKEY

In this article’s discsn of the Turkish gay ins popular culture and the ntemporary lbian and gay practic of visual rhetoric Turkey, I analyze three sets of ntemporary reprentatns and the acpanyg practic of visual rhetoric: 1) two Turkish celebri who are wily visible genr transgrsors Turkey: the late Zeki Muren (1931-1996), a flamboyant queer male sger, [2] and Bulent Ersoy, a male-to-female transsexual sger, both of whom Kaos GL rears voted “gay ins”; 2) the gay ins issue of Kaos GL, a Turkish LGBT muny magaze prt, which adapted the Wtern ncept of gay ins to the needs of the Turkish LGBT muny through a cril engagement wh the ncept; and 3) the llegiate lbian and gay fliers, webse, and “fanz” (Turkish transleratn for “fanze, ” i. In this manner, I monstrate that while visual rhetoric n empower non-Wtern lbian and gay populatns to rist the domant lol reprentatns of homosexualy and produce and dissemate affirmg alternativ, the medium utilized and the uneven ndns of productn and circulatn om one medium to another terme the extent of the relative fluence of existg reprentatns. For Turkish lbian and gay dividuals the 1980s and 1990s, this search often began wh the genr-bendg celebri Zeki Muren and Bulent Ersoy, who appeared extensively on stage and mastream Turkish media on televisn, films, and newspapers.

Yet, paradoxilly, this visibily did not mean that Turkish society accepted non-normative sexual and genr inti, cludg homosexualy, and the knowledge about sexual subcultur still remaed “fugive” spe the mass-mediated queer visibily of the two celebri.

To illtrate how Muren has bee a figure of genred cency, spe his genr bendg, Stok discs what he lls Muren’s “astute tactil mov” (310) terms of his overall public image, relign, and his homosexualy.

THE RABOW CRCENT: THE INTEGRATN OF THE GAY TURKISH COMMUNY GERMANY

[4] Muren’s tactics to steer his public image clear of his homosexualy this manner, through his claim to ancient, allegedly heterosexual masculy, were also supported by other mass media reprentatns.

From the perspective of the homosexual dience, however, as I discs the next sectn the ntext of Kaos GL‘s special issue on gay ins, Muren and Ersoy’s barga wh the heterosexist hegemony is seen as havg negative nsequenc for this particular segment of the Turkish dience, sce meant distancg, nial, and erasure of LGBT existence, fuelg heterosexism and homophobia Turkish society.