Template-Type: ReDIF-Article 1.0 Author-Email: tugbaduzenli@gmail.com Author-Email: gozdeomeroglu@ktu.edu.tr Title: A CREATIVE VIEW OF ENVIRONMENTAL CAFE DESIGN: TRABZON SOFIA GARDEN Abstract: In the 3rd Semester "Environmental Design 3" compulsory course of the KTU Landscape Architecture Department, the students were given the landscape design project of Sofia Garden Café and its surroundings. Area is located in the Hagia Sophia museum development area within the border of Fatih Mahallesi in Ortahisar district of Trabzon province. The main aim is to prepare a landscape design project for the "Sofia Garden Cafe and its surroundings", which is located in the development area of the Hagia Sophia museum, in an integrity that will meet the needs of both cafe users and city users. This study was carried out by specifically Assoc. Prof. Dr. Tuğba Duzenli- Lect. Aslı Gozde Gel group. In addition to these purposes, a fictional approach on geometric fragmentation was adopted in the Duzenli-Gel workshop and designs were developed in this direction. In this study, environmental design 3 project processes and their result products were examined in terms of geometrical formation and creativity. Journal: Avrasya Çalışmaları Dergisi Pages: 21-32 Volume: 15 Issue: 15 Year: 2022 Month: Mar DOI: 10.17740/eas.eus.2022-V15-02 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/1090 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:15:y:2022:i:15:p:21-32 Template-Type: ReDIF-Article 1.0 Author-Name: Kerem Cenk YILMAZ Author-Email: kcyilmaz@sakarya.edu.tr Author-Workplace-Name: Sakarya Üniversitesi Author-Name: Dilek CANTEKİN ELYAĞUTU Author-Email: dcantekin@sakarya.edu.tr Author-Workplace-Name: Sakarya Üniversitesi Title: AN EVALUATION ON THE IMPLEMENTATION AND DISSEMINATION OF TURKISH FOLK DANCES IN TURKEY WITHIN THE AXIS OF CULTURAL POLICIES Abstract: Traditional dances have found a place in the cultural policies of states as an important factor in the formation of cultural awareness in societies in the 21st century. The one-party period, the multi-party period and the implementation of development plans, which are milestone in the political history of the Republic of Turkey, have turned into cultural policies in the light of the political, political and technological developments in the world and in Turkey. Folk dances have undertaken the task of cultural construction of the society within the cultural policies of the state in the political history processes of the Republic of Turkey. After 1980, with the influence of globalization on cultural policies, it entered the process of commercialization within the culture industry. All these developments in Turkey's cultural policies have shaped the folk dance education that operates within the body of associations, foundations, clubs and universities. This study has been prepared in order to determine the position of folk dance studies that are at the centre of political, social and economic fields within the cultural policies of the Republic of Turkey and, in parallel, the changing status of folk dance education with these policies. It is thought that the study is important in terms of developing an education policy at the national level and making this policy one of the priorities of the fields of culture and education.  This study is based on a literature review examining institutional infrastructure and policies, academic articles, research and advocacy reports, government and development programs of local, national and international organizations operating in the field. Journal: Avrasya Çalışmaları Dergisi Pages: 42-51 Volume: 15 Issue: 15 Year: 2022 Month: Mar DOI: 10.17740/eas.eus.2022-V15-04 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/1091 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:15:y:2022:i:15:p:42-51 Template-Type: ReDIF-Article 1.0 Author-Name: Haktan Esat BAYAT Author-Email: haktan.esat@gmail.com Author-Name: Yavuz KÖKTAN Author-Email: ykoktan@sakarya.edu.tr Author-Workplace-Name: Sakarya Üniversitesi Title: FOLKLORIC ELEMENTS IN TURKISH CINEMA: THE EXAMPLE OF MAVİ BONCUK (BLUE BEAD) MOVIE Abstract: Culture is the set of values that bring a nation or community together at a common point. Folk culture, matures by being fed by the morals, religious rituals, traditions, customs and other elements of the society in which it lives, and is transferred from generation to generation by blending with the experiences of centuries. As a result of this transfer, culture continues to exist in change and development. Today, cinema, which is one of the mass media, has an important place in the transfer of culture. Cinema carries natural or fictional images and has auditory data. Thanks to this feature, it provides material to folk culture and therefore it is a kind of source of folk culture. Movies, which contain emotions such as drama, sadness, comedy and fear, present many elements of folk culture on the silver screen. Cinema includes many cultural elements such as proverbs, idioms, songs, experiences, folk tales, clothing styles, and the economic and political climate of the period. Every culture has a set of values. Therefore, every phenomenon shaped by culture is a part of the culture of the society to which it belongs. Turkish cinema, with its films, has collected and recorded cultural facts from the past to the present and has become an important tool in transferring them to the next generation. The products of Turkish folk culture include the daily life, thoughts, world views and tastes of Turkish society. The influence of directors and screenwriters is great in the exhibition of Turkish folk culture in cinema. Indeed, films are shaped by directors and screenwriters and processed by actors. In this study, it will be examined how the cultural elements in the “Mavi Boncuk (Blue Bead)” movie, which was released in 1974, are reflected on the silver screen. While making this study, Sedat Veyis Örnek's folklore classification study was taken as an example. Journal: Avrasya Çalışmaları Dergisi Pages: 1-20 Volume: 15 Issue: 15 Year: 2022 Month: Mar DOI: 10.17740/eas.eus.2022-V15-01 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/1092 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:15:y:2022:i:15:p:1-20 Template-Type: ReDIF-Article 1.0 Author-Email: dcantekin@sakarya.edu.tr Author-Email: kcyilmaz@sakarya.edu.tr Title: RETHINKING TRANSACTIONAL DISTANCE THEORY IN DANCE EDUCATION IN THE POST-DIGITAL AGE Abstract: Transactional distance is one of the basic theories of distance education. Developed by Michael Graham Moore, this theory was based on the concept transaction used first by John Dewey. In this theory comprised of two basic dimensions as distance (structure and dialog) and autonomy, the factor affecting learning is stated to be a communicative distance apart from a physical gap. So, what does the communicative distance mean in the post-digital era and does it hinder learning? In the current study, we aim to criticize on the functionality of the theory during these days when we go beyond the digital era as we try to explain our experience that I have gain as a result of distance education we have been maintaining for approximately one and a half year via the transactional distance concept. In the south eastern Europe, Turkey is a region that still preserves its traditional environment and methods in the transfer of traditional dance practices. Being in one-to-one communication, touching, sharing in the performance environment are important factors for the teaching of Turkish Folk Dances. In this context, another aim of the study is to discuss the effect of distance education on traditional dance culture in Turkey. The conceptual framework of the study is comprised of the concepts of distance education, transactional distance theory, digitalism/post-digitalism, digital native and digital immigrant. The document survey will be applied to as the method. Journal: Avrasya Çalışmaları Dergisi Pages: 33-41 Volume: 15 Issue: 15 Year: 2022 Month: Mar DOI: 10.17740/eas.eus.2022-V15-03 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/1093 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:15:y:2022:i:15:p:33-41 Template-Type: ReDIF-Article 1.0 Author-Name: Mahire GULIYEVA Author-Email: pianist777@list.ru Author-Workplace-Name: Ardahan Üniversitesi Title: A FREE AND ORIGINAL SYNTHESIS USING WESTERN AND AZERBAIJANI MUSICAL MODES: ELEKBER ESGEROV’S DANCE MELODIES Abstract: Before the spoken language emerged, people communicated with their hands, feet and facial expressions, transferred their thoughts to each other, and the phenomenon which is called dance today was born. Until recently, people's works on this subject were not perceived as art because they did not have the feature of being art. But in modern times dance has become a form of art. In the study, documents produced in the ancient history of Western and Azerbaijani folk dances were examined and musical melodies were analyzed. Here, the dances and melodies performed in accordance with the traditions and ceremonies of France, Spain, Germany, England, Poland and other European countries are examined, and information about their constitutive musical characteristics is presented. In the study, the history of the art of dance and Azerbaijani dance genres were examined, information was given about several ancient Azerbaijani dances, the notes of the dance melodies composed for wind instruments (such as clarinet, balaban and flute) by composer Alakbar Asgarov, the popular and innovative artist of the Azerbaijani people, were examined, and perspectives on various periods in relation to the development of the art of dance is presented. Except for the book I published in 2018 by scoring Alakbar Asgarov's compositions from Azerbaijan state television archives and the gramophone records, no work has been done on the composer, either in Azerbaijan or abroad. In this context, this study is completely original and has the distinction of being the first study in the literature on the subject. Journal: Avrasya Çalışmaları Dergisi Pages: 52-74 Volume: 15 Issue: 15 Year: 2022 Month: Mar DOI: 10.17740/eas.eus.2022-V15-05 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/1113 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:15:y:2022:i:15:p:52-74 Template-Type: ReDIF-Article 1.0 Author-Name: Güler DEMİROVA GYÖRFFY Author-Email: genceguler@yahoo.com Author-Workplace-Name: Ankara Üniversitesi Author-Name: Demet GÜRHAN Author-Email: demgurhan@hotmail.com Author-Workplace-Name: Ankara Üniversitesi Title: USE OF DANCE MUSIC IN THE VOCAL REPERTORY OF CLASSICAL MUSIC Abstract: Music has always been at the centre of human life. Word and dance accompanied the music and became the companion of the music. The different moods of human beings are expressed with dances and folk dance; happiness, grief, enthusiasm and special feelings…At the same time, the dances were accompanied by music and strengthened the expression of the movements and movements of the dancers. Folk dance music is performed with or without instrument accompaniment, mostly with vocal accompaniment. While creating works - opera, symphonic work, chamber music, instrumental works - the composers also tended to dance music and tried to reflect the atmosphere, character, gestures and elasticity of dance or walking movements in their works. Along with the development of music throughout human history, new instrumental and vocal form shave been included in the creativity of composers. Thus, the composers used dance in symphony, opera and musical works, and they also kept dance musical live by creating vocal works. Waltz, tarantella, bolero, menuet, polka, habanera, tango and seguidilla etc. we know from dances. Singing works were created in these genres. The aim of this study; the aim is to give a brief historical over view of dance music in classical music vocal repertoire and to present it with a concert by showing examples of the use of dance music. In the study, the vocal repertoire in which dance music was used wastried to be scanned by using the source scanning method. As a result, it has been concluded that dance music, which makes a great contribution to the music culture of the future by taking it spower from folk music, has an important place in the classical music vocal repertoire and new melodies are born by gaining continuity with lively and impressive forms. Journal: Avrasya Çalışmaları Dergisi Pages: 75-82 Volume: 15 Issue: 15 Year: 2022 Month: Mar DOI: 10.17740/eas.eus.2022-V15-06 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/1114 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:15:y:2022:i:15:p:75-82