The Image of Women in Ahiska Turks Through Audio-Visual Works

Abstract

The Ahiska Turks, separated from their homeland of Ahıska in the 19th and 20th centuries and exiled all over the world, live as a diaspora in different countries, especially in the countries of the former Soviet Union. Like other diasporas, Ahıska Turks strive to preserve their culture, language, customs, and traditions and to pass on their cultural values to future generations.  The most effective method of transmitting cultural heritage is the production of audio-visual works. In this context, it is hoped that the study of works produced in the cinema, as the most remarkable platform, will provide us with sufficient data about diaspora societies. Ahıska Turks often used cinema to protect their cultural heritage.

The use of films was chosen as the main method to understand the place and role of Ahıska Turkish women in the family and community, which is the subject of this study. The study qualitatively analyses the audio-visual works on the stories of the Turks who tried to adapt to their new countries and were always anxious not to forget and make others remember the home they were exiled from, Ahıska. In the sociological analysis method used in this context, the examination of the social conditions of the period in which the film was produced or dealt with in its content is emphasized. In the study, the films “Tatlı Puvar”, “Borç”, “Gerçek Aşk”, “Uzun Yol”, “Ben de Sevdim”, “Hayal”, the serial “Büyük Sürgün Kafkasya” and the documentary “Sıfırlanan Hayatlar”, “Sürgün 75. Yılında Ahıska Türkleri” are examined as samples. This research aims to obtain data on the place and role of women in the family and social life of Ahıska Turks. It also aims to reveal the peculiarities in the portrayal of female characters.