Collage of three photos side by side shows middle-aged people read as women and men. They are in this order from left to right: Cem Kaya, Shermin Langhoff, Gürsoy Doğtaş. Cem Kaya, arms folded and leaning on a reflective surface, looks frontally into the camera. He wears a black, sporty, scoop-neck sweater, a large, gold watch on his wrist and a fine, gold chain over the sweater. He smiles with his mouth closed, his full, gray beard trimmed short. His head hair is also short and gray. He wears his hair short on the sides, slightly longer on top styled in a quiff. In the industrial-looking background you can see graphic elements in red, white and brown. In front of Kaya on the mirror surface is a winner's trophy, a narrow rectangle of transparent glass with white lettering. Shermin Langhoff stands in front of a red background and looks frontally into the camera. She wears a black top with a scoop neck and a light coat, also black, loosely over it. She smiles slightly with light red lips made up. Her open black hair falls over her shoulders on both sides. Gürsoy Doğtaş stands in profile facing left and turns his head towards the camera. He wears a tunic unbuttoned to the chest with a gray graphic print and stand-up collar. His hair is millimeters short, as is his beard around his mouth and cheeks. He shows an implied smile, his mouth is closed. In the background is an oil painting of flowers.
Cem Kaya, Shermin Langhoff, Gürsoy Doğtaş
Thursday, 25.8.2022
20:40 – 21:40, Kino in der Kulturbrauerei (Saal 8)
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»Aşk, Mark ve Ölüm – Liebe, D-Mark und Tod« – über die Musikgeschichte der Arbeitsmigrant*innen aus der Türkei (De)

Cem Kaya, Gürsoy Doğtaş (Moderation), Shermin Langhoff

»Aşk, Mark ve Ölüm« (»Love, Deutsche Marks and Death«) tells the story of labour migration from Turkey as a multifaceted musical history. In this talk, Cem Kaya (the film’s director) and Shermin Langhoff (artistic director of the Maxim Gorki Theatre in Berlin) will trace its episodes and turning points. One possible point of this conversation may be the emotional politics of the songs with their collective melancholy, condensed in terms such as hasret (longing) or hüzün (sadness). But also the commercial success of this music, its independent distribution system and the meteoric rise of the singers, such as Yüksel Özkasap (Köln’ün Bülbülü, the nightingale of Cologne). Other topics may be the protest songs of migrants and their descendants – be it against the intolerable working conditions or the discrimination towards people from Turkey and their children after the right-wing extremist attacks in the eighties and onwards. This musical history is part of the (post)migrant knowledge of Cem Kaya and Shermin Langhoff, making them the ideal interlocutors.

Supported by Initiative Musik gemeinnützige Projektgesellschaft mbH with project funds from the Federal Government Commissioner for Culture and the Media (BKM) as part of Pop-Kultur Inter:national / Postmigrant Perspectives.

Collage of three photos side by side shows middle-aged people read as women and men. They are in this order from left to right: Cem Kaya, Shermin Langhoff, Gürsoy Doğtaş. Cem Kaya, arms folded and leaning on a reflective surface, looks frontally into the camera. He wears a black, sporty, scoop-neck sweater, a large, gold watch on his wrist and a fine, gold chain over the sweater. He smiles with his mouth closed, his full, gray beard trimmed short. His head hair is also short and gray. He wears his hair short on the sides, slightly longer on top styled in a quiff. In the industrial-looking background you can see graphic elements in red, white and brown. In front of Kaya on the mirror surface is a winner's trophy, a narrow rectangle of transparent glass with white lettering. Shermin Langhoff stands in front of a red background and looks frontally into the camera. She wears a black top with a scoop neck and a light coat, also black, loosely over it. She smiles slightly with light red lips made up. Her open black hair falls over her shoulders on both sides. Gürsoy Doğtaş stands in profile facing left and turns his head towards the camera. He wears a tunic unbuttoned to the chest with a gray graphic print and stand-up collar. His hair is millimeters short, as is his beard around his mouth and cheeks. He shows an implied smile, his mouth is closed. In the background is an oil painting of flowers.
Cem Kaya, Shermin Langhoff, Gürsoy Doğtaş