Complaint sessions in Merwede
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Architect Merve Bedir has been commissioned by Common Ground for an art commission in Merwede. But it is not a solo project. Merve's idea is for the neighbourhood's residents and organisations to play the leading role. Gemene Grond is consulting with the municipality of Utrecht on the role art can play in the Merwede neighbourhood. The aim of the project is to create more connection between the different neighbourhoods and districts. Merve wants to help the residents and organisations in these neighbourhoods to think together about the kind of art they want and to take care of the artwork that comes out of the project. Therefore, she will explore from the beginning what we have in common, and the possibilities for collaboration in Merwede. Merve and Common Ground invite you to one of the various activities.
IMAGINE IF YOU COULD JUST COMPLAIN!?
This is how we organise complaining sessions; air your heart, no one judging. Based on the idea of ‘arzuhalci’, a custom from Turkey, where writers on the street offer their services to people who want their problems and issues recorded to start petitions or initiate legal proceedings. There is often also a wish hidden in a complaint. These complaint sessions can lead to a translation of individual or collective questions and desires. With these sessions, we collect complaints, feedback, and wishes from people living in and around Merwede, in order to present them together to the parties developing Merwede, including the municipality of Utrecht. The complaint sessions are an example of how Merve wants to increase ownership by acknowledging both positive and negative feelings of residents. We want to hear from everyone: the elderly, the young, and many others. Their feedback will be the basis of a communal art-commissioning process in Merwede.
Want to join?
Would you also like to organise or attend a complaint session yourself sometime? Mail to merwede@gemenegrond.nl
About Arzuhalci Practice
[i]A letter or petition written by a single person to the government bodies about declarations, demands, complaints is called “arz-ı hal” (early form) “arzuhal” (late form). For illiterate people or for those who don’t know the proper style, “arzuhalci”s write these letters. Besides, personal letters to the parents, spouses, brothers and sisters, friends and lovers may also be written by arzuhalci’s. Individual petitions are called arz-ı hal whereas the group petitions are called as arz-ı mahzar[ii].
Arzuhalci’s used to be popular and had professional organisation and representation in Ottoman time. In time, as illiteracy was reduced and people were more educated, the works and the importance of arzuhalci’s started to decline. Later the notary public, “Noter” in Turkish, started doing a similar work. The formal duties assigned to an arzuhalci and noter and their job descriptions are quite similar.
Arzuhalci’s are supposed to know the laws and regulations, have excellent understanding of language and grammar, and honest and trustworthy persons. It is important to have the letter/petition address to the correct official, and have the correct and effective expressions used to describe the complaint or demand.
Arzuhalci’s used to have mobile offices, easily to be found by people, i.e. corners of the shops, coffee houses, madrassahs, and mosque courtyards[iii]. They usually seated cross-legged, on top of a canework stool, behind a desk with some paper, ink, ink-pot and ink holder, reed and bamboo pen and some other tools, with some extra stools for their customers[iv]. Some used orange or lemon cases in lieu of stools or desks, some others writing on their knees, while some rare arzuhalci’s were privileged enough to own a store, with precious possessions such as lime or walnut desks, satin covers, chairs covered with Hereke clothes and other precious tools for writing[v]. On Sundays some arzuhalci’s who were obliged to visit the military quarters would carry their mattresses under their armpits and lay them on the grounds to sit/work on top of them[vi].
Later on arzuhalci’s were asked to have more formal locations, and were placed on dead-ended streets where a barker “çığırtkan” would announce loudly their presence therein to attract clients[vii]. Today, most of the arzuhalci’s have offices whereas a minority still work mobile with their typewriters or personal computers[viii].
There are arzuhalci’s in Europe (in Greece, Italy, and Spain), North Africa (Egypt and Morocco), in Asia (Iran, India, Pakistan, China, and Russia), and in South America (Mexico, Bolivia, Peru).
Sources
[i] Topallı, E. (2010). “From the 19th century up to Present day the Scriveners Parallel to Orientalist Paintings: its Historical and Sociological Background.” U.Ü. Faculty of Literature, Journal of Social Sciences, 11/8.
[ii] İnalcık, H. (1988). “Şikayet Hakkı: Arz-ı Hal ve Arz-ı Mazhar’lar.” (Right to Complaint: “Arz-ı Hal” and “Arz-ı Mazhar” letters). Ottoman Research Journal, VII-VIII, İstanbul, s.33-54. (in Turkish)
[iii] a source dating back to 1773. mentioned in Ahmet Refik (1930). “Hicri Onikinci Asırda İstanbul Hayatı.” (Life in Istanbul during 12th ct.) İstanbul.
[iv] Anonym (1949). “Arzuhalci.” İnönü Encyclopedia, V3, Ankara, 431-432.
Anonym (1955). “İstidacı.” N 39, 19-20.
[v] Anonym (1955). “İstidacı.” N 39, 19-20.
Çapanoğlu, M.S. (1942). “Yenicami Arzuhalci’s.” Yeni Türk Journal, N111-112, 12-16.
Çapanoğlu, M.S. (1951). “Old Arzuhalci’s.” Illustrated History Journal, N24, 1174-1175.
Çapanoğlu, M.S. (1962). “Kuyruksuz Eşeğin Sıhhati” (Health of the Donkey without a tail). İstanbul Municipality, N13, 25-29.
[vi] Sabit, E. (1940). “Dünkü ve Bugünkü Arzuhalciler.” (Arzuhalci’s Yesterday and Today). Yarımay, N115, 5-27.
[vii] Acar, M. (1939). “Şehir Röportajları- İstanbul Arzuhalcileri.” (Interviews from the City – Istanbul’s Arzuhalci’s). Vakit Newspaper, N175, 4-13.
[viii] Özemre, A. Y. (2007). “Hasretini Çektiğim Üsküdar.” (Üsküdar, the one I long for). 37-38.
