the primary school at Agkyras street

1 sound

Το δημοτικόν σχολείον της οδού Αγκύρας

Κιμέτ Αλίμπεϊ: Ξέρεις, τωρά λαλούν την οδόν Αγκύρας; Νναι. Είσ̆εν έναν πολλά παλιό σχολείον τζ̆ειαμαί. Πολλά παλιό. Αλλά όταν ήρτεν η ώρα να πάω στο δημοτικόν, επειδή εγεννήθηκα στες 16, εν με εδέχτηκαν. Γιατί τότε, ο νόμος ήταν ότι η χρονιά έφτανε μέχρι τες 15 του Οχτώβρη. Τζ̆είνους που εγεννιούνταν την ίδια χρονιά στες 16, δεν τους έπιαναν. Έτσι την πρώτη χρονιά δεν με έπιασαν. Έπρεπεν να περιμένω ακόμα έναν χρόνον για να πάω δημοτικόν. Όμως ήμουν η πιο μεγάλη της τάξης.

Εκάθουμουν με μιαν κορούα, όταν επήα τζ̆ειαμαί. Ήμουν εφτά χρονών όταν επήα τζ̆ειαμαί. Η δασκάλα μου επρόσεξε ότι εν εμπορούσα να δω τον πίνακα πολλά καλά. Το μικρόν της όνομαν εν Μουστεϊντέ Χανίμ, ήταν η πρώτη μου δασκάλα. Είπεν το στους δικούς μου τζ̆’ έτσι επήραν με στον γιατρόν τζ̆’ έβαλα γυαλιά. Ήμουν εφτά χρονών τζ̆’ εφορούσα γυαλιά τζ̆’ ούλλοι επεριπαίζαν με. Αποκαλούσαν με τετραπλομμάτα, «έχεις τέσσερα μμάθκια». Τζ̆αι τούτον εσυνέβαινε κάθε φορά που είχαμεν κάτι. Ως τζ̆’ ο αρφός μου έτσι μου ελάλεν άμαν έρκετουν καμιά φίλη μου στο σπίτιν, ελέαν με τζ̆αι τζ̆είνοι τετραπλομμάτα. Τζ̆αι τούτον επείραζε με πολλά. Τζ̆αι ο γιατρός είπεν ότι το έναν μμάτιν εν’ πιο ττεμπέλικο που το άλλον. Τζ̆’ έτσι έπρεπεν να κλείσω το καλόν. Η αρφή μου, που εμείνισκε μαζίν μας, ήταν καλή ράφταινα. Παρόλον που εν χρειάζεται να είσαι ράφταινα, έκαμεν μου έναν μαύρον ύφασμαν για να το βάλω στο μμάτιν μου. Ου, ούλλοι επεριπαίζαν με. Τζ̆αι στο σπίτιν εν εμπορούσα να δω γιατί εν εμπορούσα να το φορώ, αφού οι αρφούες μου τζ̆αι οι ανιψιές μου ήταν συνέχεια τζ̆ειαμαί. Τζ̆’ εν με άφηναν. Ήταν το σ̆ειρόττερον τούτον.

Τζ̆’ είχα τζ̆αι ξαθθά μαλλιά, κατσαρά, τζ̆’ εχτένιζα τα έτσι. Τζ̆αι μετά την κυρία Χανίμ ήρτεν άλλος δάσκαλος, άντρας. Εν θθυμούμαι το όνομαν του γιατί εν τον εσυμπαθούσα. Τζ̆είνος ελαλούσεν με σκούπα. Τζ̆αι ξέρετε, τον παλιό τζ̆αιρόν, οι σκούπες ήταν κίτρινες. Τζ̆αι τούτος ελαλούσεν με σκούπα. Τζ̆’ εμέναν επείραζε με πολλά, εκουμπούσα την τζ̆εφαλή μου πάνω στο θρανίο τζ̆’ έκλαια. Τζ̆αι μετά έρκετουν, αλλά εγώ εν ήθελα να τον δω. Ξέρεις, μερικοί δάσκαλοι εν έτσι. Τζ̆αι, ξέρεις, τα θρανία ήταν διαφορετικά. Ήταν ξύλινα. Τζ̆αι το κάθισμα ήταν έναν μαζίν τους. Τζ̆’ έπρεπεν να πάεις να κάτσεις τζ̆ειαμαί. Τζ̆αι εκάθεσουν σε δυάδες. Θθυμούμαι την επόμενην μου διπλανή, μιαν κορούα που την έλεαν Χατίτσε. Είσ̆εν μεγάλα σ̆έρκα τζ̆αι τα δικά μου ήταν πολλά μιτσ̆ιά. Τζ̆’ έπιαννεν το χέριν μου τζ̆’ έβαλλεν το στο δικόν της τζ̆’ έλεε «τα σ̆έρκα σου εν σ̆έρκα μωρού». Άλλον τούτον. Αρκετά. Τούτα εν’ ούλλα.

Σήμμερα βρίσκεται εκεί το Συμβουλευτικόν Δικοινοτικόν Πολυδύναμο Κέντρον του Δήμου Λεμεσού.


Agkyras Sokağı’ndaki ilkokul

KIYMET ALİBEY: Şimdi Ankara Caddesi dedikleri sokağı bilirmin? Evet. Orda çok eski bir okul vardı. Çok eski. Ama ilkokula gidecek yaşa bastığımda, [ayın] 16’sında doğduğum için, beni almadılar. Çünkü o zamanki yasa, 15 Ekim’e gadar gabul ederdi, birinci sınıf için. O yıl, 16’sında doğanları almazlardı. Onun için beni birinci sınıfa almadılardı. Bir sene daha beklemem gerekdi ilkokula gitmek için. Ama sınıfın en büyüğü da bendim.

Evet, orada bir gızcıknan otururdum, hani, oraya gittiğim zamanlar. Ve öğretmenim fark etti, yedi yaşındaydım oraya giderken. Öğretmenim fark etti ki tahtayı çok iyi görmem. İşte o iletişime geçti – adı Müsteyde Hanım’dı, ilkokul öğretmenimin adı. O fark etti ki tahtayı iyi görmem. Onun için beni doktora götürdüler ve gözlük dakmaya başladım. Yedi yaşında gözlük dakdım ve herkes bana gülerdi. Bana ‘dört göz’ derlerdi, dört gözlü. ‘Sen dört gözlüsün’... bu, onların… bişeyimiz olduğunda... Ve abilerim da bana öyle derlerdi, evde gavga ettiğimiz zaman, onlar da dört gözlü derlerdi bana. Ve benim çok canım sıkılırdı buna. Hatta… Doktor dediydi ki, gözlerimin birinde göz tembelliği varmış. Onun için da iyi olan gözümü kapadılardı. Ve gız gardaşım bizimnan yaşardı ve çok iyi bir terziydi, hani, elbise dikerdi. Da hani, bilin yani, terziye gerek yok, gara bir gumaş parçası goyan oraya (gözünü kapatmak için). Amaaan, herkes bana gülerdi. Ve evde da dakamazdım, çünkü abilerim hem yeğenlerim vardı hep etrafta. Ve beni rahat bırakmazlardı. En fenası da oydu.

Hem sarı saçlarım vardı, gıvırcık, bu gadar büyük, böyle. Ve öyle darardım saçımı. Ve bazıları—Zehra Hanım’dan sonra, başka bir öğretmen geldi, erkek. Adını hatırlamam çünkü sevmezdim gendini. Bana ‘süpürge saçlı’ derdi. ‘Broom’ süpürge demektir. Bilin ya, eskiden, süpürgeler sarıydı. Da işte beni süpürge saçlı diye çağırırdı. Ve bu beni çok üzerdi, başımı masaya dayayıp, ağlardım. Sonra da yanıma gelirdi. Görmek istemezdim gendini. Bilin ya, bazı öğretmenler öyleydi. Hem, bilin, o zamanlar sıra masaları farklıydı. Ahşapdılar. Sandalyelernan bitişiktiler. İçine girip, öyle otururdun. Hem ikili otururdun. Hatırlarım, sıra arkadaşım vardı, adı Hatice’ydi. Gocaman elleri vardı ve benim ellerim güçücükdü. Ve elimi gendi elinin içine goyardı ve derdi, ‘senin ellerin bebek eli gibi’. Bu da bir diğeri. Yeter?

günümüzde, Limasol Belediyesi İki Toplumlu Çok Amaçlı Danışma Merkezi’dir.


KIYMET ALIBEY: You know, now they call it Ankara Caddesi? Yes. There was a very old school there. Very old. But when the time came that I was the age to go to primary school, because I was born on the 16th, they didn't accept me. Because during that time, the law was a year until 15th of October. Those that were born in a year and in 16, they don't take it. So, they didn't take me at the first year. I had to wait for another year to go to the primary school. But I was the oldest one in this class.

Yes, I was sitting with a girl there, you know, when I went there. And then my teacher noticed, I was seven years old when I went there. My teacher noticed that I cannot see the board very close. She got in touch with my- I know her first name is Müsteyde Hanım, was my first school teacher. She noticed that I cannot see the board properly. And so, they took me to the doctor and I started wearing glasses. I was seven years old wearing glasses and everybody was laughing at me. They used to call me four glasses, four eyes, dört gözlü. You have four eyes... that was there… when we had something... And even my brother used to, when we had a quarrel at home, I was dört gözlü for them also. And that was very annoying for me. Even… And the doctor said one eye is lazier than the other one. So, I had to close the good one. And my sister who was living with us, she was a good tailor also, you know, dressmaker. You know, you don't need to be a dressmaker, a black cloth thing to put it here (to cover one eye). Oh, everybody was laughing at me. And at home I couldn't see it because I couldn't wear it because my brothers and my nieces were all around. And they didn't let me do it. That was the worst thing.

And also, I had blonde hair, curly, this size, like this. You know, I used to comb it like that. And then some — After Ms. Zehra Hanım, another teacher, a man teacher came. I don't remember his name because I don't like him. He was saying to me, süpürge saçlı. Süpürge saçlı means broom. You know, in old times, you know that they are yellow. And he was calling me süpürge saçlı. And I was very upset, put my head on his desk and cry. And then he used to come. I didn't want to see him. You know, some teachers are like that. And you know the desks were different. (They were) wooden. And there was a sitting connected to (them). And you have to go in and sit there. And you have to sit two by two. I remember my next schoolmate, you know, a girl called Hatice. She had big hands and my hands (were) very small. And she used to put my hand in her hand and was saying, your hands are baby hands. That was another one. Enough. So that is...

presently is the Advisory Bicommunal Multifunctional Center of the Municipality of Limassol


Part of this walk

stories from Limassol’s Mahalla

stories from Limassol’s Mahalla

Λεμεσός
Ιστορίες που τον μαχαλλά της Λεμεσού Το Κέντρον Παραστατικών Τεχνών ΜΙΤΟΣ παρουσιάζει τούτον τον ηχητικόν χάρτην σε επιμέλεια Έλενας Αγαθοκλέους, που ζωντανεύκει αναμνήσεις που τους δημόσιους χώρους τζ̆αι την ζωή της κοινότητας πριν το ’74, μέσα που συνεντεύξεις με Τουρκοκύπριους κατοίκους που έζησαν στον μαχαλλά της Λεμεσού. Ο χάρτης χρησιμοποιείται με αυτοξενάγηση, προσκαλώντας σας να περπατήσετε στην περιοχή καθώς ακούετε τες ιστορίες. Μπορείτε να αποκτήσετε πρόσβαση κατεβάζοντας την εφαρμογή ECHOES app από το Αpp Stοre ή το Gοοgle Ρlay. Ο ηχητικός χάρτης «Ιστορίες που τον μαχαλλά της Λεμεσού» αποτελεί μέρος της πρακτικής του Ιnterwοven Νarratives Ηub, που εξερευνά την άυλη πολιτιστική κληρονομιά της Κύπρου τζ̆αι τονίζει τους τρόπους με τους οποίους οι δημόσιοι χώροι τζ̆αι οι προσωπικές ιστορίες συνυφαίνουνται, αποκαλύπτοντας μια βαθύτερη αίσθηση του ανήκειν. Υφαίνοντας τούτα τα νήματα μαζίν, προτείνει συνεργατικές προσεγγίσεις για την βιωματική εμπειρία της πολιτιστικής κληρονομιάς, εμπλέκοντας μέλη τζ̆αι των θκυο κοινοτήτων που σήμμερα διαμένουν στην Λεμεσόν τζ̆αι στην Αμμόχωστο ως πρόσφυγες. Το Ιnterwοven Νarratives Ηub υλοποιείται που το Famagusta Νew Μuseum, το Κέντρον Παραστατικών Τεχνών ΜΙΤΟΣ τζ̆αι το Famagusta Walled City Αssοciatiοn (MASDER) στο πλαίσιο του προγράμματος VΑΗΑ. Το VΑΗΑ εν’ μια πρωτοβουλία των Αnadοlu Κültür τζ̆αι zusa, που χρηματοδοτείται που το Stiftung Μercatοr τζ̆αι το Εurοpean Cultural Fοundatiοn. Ο ηχητικός χάρτης «Ιστορίες που τον μαχαλλά της Λεμεσού» υποστηρίζεται που το Τμήμα Σύγχρονου Πολιτισμού του Υφυπουργείου Πολιτισμού της Κύπρου στο πλαίσιο του προγράμματος «Στα όρια της αντοχής τζ̆αι της μνήμης». ΣΥΝΤΕΛΕΣΤΕΣ αφηγητές/τριες: Κιμέτ Αλίμπεϊ, Φεριχά Τσαγκίν, Χουσεΐν Αρσάλ, Μουσταφά Χαλιλσόι τζ̆αι Νιλγκούν Χουσεΐν. σχεδιασμός, επιμέλεια & συνεντεύξεις: Έλενα Αγαθοκλέους. επιμέλεια κειμένων στα αγγλικά & μεταφράσεις στα κυπριακά ελληνικά: Ιάνθη Παπαδήμα. μεταφράσεις στα κυπριακά τουρκικά: Αϊτζάν Γκαρίπ. μεταφράσεις & απομαγνητοφωνήσεις στα αγγλικά: Αϊτζάν Γκαρίπ, Χάλε Σιλιφκέλι, Βαγγέλης Κονιώτης, Σερντάρ Ατάι. καταγραφή συνεντεύξεων & δημιουργία ηχητικού χάρτη: Κωνσταντίνα Peter. διερμηνεία κατά την διάρκεια των συνεντεύξεων: Σερντάρ Ατάι, Χουσεΐν Οζάντικα. μεθοδολογία ηχητικού χάρτη: Famagusta Νew Μuseum. φωτογραφίες: Χρίστος Γεωργίου ευχαριστίες στον Σπύρο Αρμοστή www.mitοs.οrg.cy 2025-2026 Limasol’un Mahallesi’nden Hikâyeler Performans Sanatları Merkezi MITOS, Elena Agathokleous küratörlüğünde hazırlanan bu sesli yürüyüşü sunar. Bu çalışma, 1974 öncesinde kamusal alanlara ve topluluk yaşamına dair anıları, Limasol’un mahallesinde yaşamış eski Kıbrıslı Türk sakinlerle yapılan söyleşiler aracılığıyla yeniden canlandırıyor. Harita, kendi kendinize keşfedebileceğiniz bir rota olarak tasarlanmıştır; yürürken bulunduğunuz yerdeki hikâyeleri dinlemeye davet eder. Erişim için lütfen ECHOES uygulamasını App Store veya Google Play’den indirebilirsiniz. “Limasol’un Mahallesi’nden Hikâyeler” adlı sesli yürüyüş, Kıbrıs’ın somut olmayan kültürel mirasını araştıran ve kamusal alanlarla kişisel hikâyelerin nasıl iç içe geçtiğini görünür kılarak daha derin bir aidiyet duygusu ortaya çıkaran Interwoven Narratives Hub pratiğinin bir parçasıdır. Bu anlatı katmanlarını bir araya getirerek, bugün Limasol ve Mağusa’da mülteci olarak yaşayan her iki toplumdan bireylerin katılımını içeren, kültürel mirası deneyimlemeye yönelik işbirlikçi yaklaşımlar önerir. Interwoven Narratives Hub; Famagusta New Museum, Performans Sanatları Merkezi MITOS ve Mağusa Suriçi Derneği (MASDER) tarafından, VAHA programı kapsamında yürütülmektedir. VAHA, Anadolu Kültür ve zusa girişimi olup, Stiftung Mercator ve Avrupa Kültür Vakfı tarafından finanse edilmektedir. “Limasol’un Mahallesi’nden Hikâyeler” sesli yürüyüşü, Kıbrıs Kültür Bakan Yardımcılığı’na bağlı Çağdaş Kültür Dairesi tarafından, “At the Edge of Endurance and Memory” projesi kapsamında desteklenmektedir. KÜNYE Anlatıcılar: Kıymet Alibey, Feriha Çağın, Ertan Demirağ, Hüseyin Arsal, Mustafa Halilsoy ve Nilgün Hüseyin. Tasarım, kürasyon & söyleşiler: Elena Agathokleous. İngilizce metin düzenlemesi & Kıbrıs Rumcasına çeviri: Ianthi Papadima. Kıbrıs Türkçesine çeviri: Aycan Garip. İngilizce çeviri & deşifre: Aycan Garip, Hale Silifkeli, Vaggelis Koniotis, Serdar Atai. Saha içi çeviri (söyleşiler sırasında): Serdar Atai, Husseyin Ozantika. Söyleşi dokümantasyonu & ses haritalandırması: Constantina Peter. Ses haritası metodolojisi: Famagusta New Museum. Fotoğraf: Christos Georgiou www.mitos.org.cy 2025-2026 The Center of Performing Arts MITOS presents this sound walk curated by Elena Agathokleous, which brings to life memories of public spaces and community life before 1974 through interviews with former Turkish Cypriot residents of Limassol’s mahalla. The map functions as a self-guided tour, inviting you to walk through the area while listening to the stories. To access it, please download the ECHOES app from the App Store or Google Play. The sound walk “Stories from Limassol’s Mahalla” is part of the Interwoven Narratives Hub practice, which explores the intangible cultural heritage of Cyprus and highlights the ways in which public spaces and personal stories intertwine, revealing a deeper sense of belonging. By weaving these threads together, it proposes collaborative approaches to experiencing cultural heritage, involving members of both communities who today live in Limassol and Famagusta as refugees. The Interwoven Narratives Hub is implemented by Famagusta New Museum, the Centre of Performing Arts MITOS, and the Famagusta Walled City Association (MASDER), within the framework of the VAHA program. VAHA is an initiative of Anadolu Kültür and zusa, funded by Stiftung Mercator and the European Cultural Foundation. The sound walk “Stories from Limassol’s Mahalla” is supported by the Department of Contemporary Culture of the Deputy Ministry of Culture, Cyprus, within the project “At the Edge of Endurance and Memory”. CREDITS narrators: Kiymet Alibey, Feriha Cagin, Ertan Demirag, Huseyin Arsal, Mustafa Halilsoy and Nilgün Hüseyin. design, curation & interviews: Elena Agathokleous. text editing in English & translations in Greek Cypriot: Ianthi Papadima. translations in Turkish Cypriot: Aycan Garip. translations & transcriptions in English: Aycan Garip, Hale Silifkeli, Vaggelis Koniotis, Serdar Atai. interview documentation & soundmap creation: Constantina Peter on-site translations during interviews: Serdar Atai, Husseyin Ozantika sound map methodology: Famagusta New Museum. photography: Christos Georgiou many thanks to Spiros Armostis www.mitos.org.cy 2025 -2026
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