In nation-states, the use of space often functions as a demonstration of power and a symbol of “conquest.” States mark the territories they occupy and colonize with their own signs and symbols, asserting these areas as their zones of control.
In the geography of Kurdistan, particularly in areas under the occupation of the Turkish state, nearly every city contains a square named “Atatürk” or “Republic.” On nearly every mountain in Northern Kurdistan (Bakur), slogans such as “How happy is the one who says I am a Turk” or “Every Turk is born a soldier” are inscribed. In addition, the Turkish state has designed every city in Kurdistan not according to local architectural traditions, but according to its own colonial logic, filling urban spaces with symbols that reflect its ideology.
Imprisoned writer Ramazan Çeper, in his latest book Spatial Racism, examines how this colonial mindset has used space in Kurdistan as a tool of assimilation and repression, drawing comparisons with similar practices around the world. Published by Aram Publishing, the book is unique in its field and clearly illustrates the spatial dimensions of the ongoing occupation in Kurdistan.
Spatial behaviors shape human perception and imagery
Ramazan Çeper, spoke to ANF, explained that space directs human movement and that the individual is shaped in relation to space. He shared his reflections on the meanings of symbols and signs, and how a distinct form of racism is practiced in Kurdistan.
Çeper said, “Human beings find their existence within space, and space defines itself. Nothing interacts with humans as intensely as space does. Space surrounds the individual; it guides the body and shapes movement. Human behavior takes form within a specific physical and social environment.” He continued:
“The human mind responds to space as perceived by the body and the senses. A person interprets, selects, and organizes their environment, the neighborhood, the city, and its physical structure. The identity of a space consists of all the elements that define it. Spatial behaviors are influenced by the individual’s mental imagery of space. These images are formed not only by architecture, but also by signs and symbols. We may call these iconological and semiotic indicators.
A symbol is used to express a certain idea or phenomenon. A sign, on the other hand, expresses an action or behavior rather than an idea. Signs indicate condition and direction; they guide semiotic movement. The symbol, more than functioning as a mere indicator, is a vessel of meaning, it is iconological.
Space is defined by iconological symbols and values. Both signs and symbols are produced in order to be seen. Bodies interact with space through images, signs, and symbols.
Yet the symbol is always an object of emotional investment, it is rooted in a culture, an ideal, or an ideology. It is not only macro-level spaces that carry ideological meanings, but also many of the symbols used in micro-level social interactions and relationships. These symbols correspond to particular ideologies and interact with the representational elements of those ideologies.”
Many symbols used in daily life are rooted in religious iconography
Ramazan Çeper explained that architectural symbols and motifs are widely used, and that most of them are rooted in religious-ideological traditions. Reflecting on many of the symbols used in daily life in Kurdistan, Çeper stated:
“Let’s consider some micro-symbols that I did not touch on in the book but that people constantly interact with in everyday life. Most of the decorative elements used in architecture, on walls, gardens, fences, doors, and windows are rooted either in Jewish religious symbolism or in Christian apostology. A few examples include:
ﻭﻭ: A symbol with a curved hook-like end, representing God in Christianity and referred to as resh in Judaism. In the Hebrew alphabet, resh means “head” and symbolizes Yahweh.
ღღ: Known as the heart or cup, this is a double resh that represents the Father and the Son, that is, the Messiah and God. It appears frequently in architectural decoration, especially in window and door fixtures.
ﻮﻮﻮ: This triple symbol, resembling the Arabic letter waw, represents the Father, Son, and Holy Spirit. It is commonly seen in furniture designs, interior decorations, and the ironwork of windows.
ﻮﻡ: This symbol, depicting the Father and the Son (ba), often appears in the shapes of metal ornaments atop surrounding walls.
Ͳ: A “fruit-bearing” version of the double resh, widely used in door and window decorations.
₱₱: Helical symbols, also known as krishman resh, are frequently used in both exterior and interior architectural designs. They can be found on wooden furniture carvings, carpet patterns, and even fabric designs.
ꟼ: Represents Yahweh.
±: Symbol of Jesus as God.
ᲯᲯ: Son of Yahweh.
ꓽꓸꓽ: The Son and the Father.
Ӝ: Jesus the Messiah as God.
Ჯ: The Greek monogram of Jesus.
Ϯ: Symbol of God.
ꭕ: Symbol of the Messiah.
Çeper added that even the heads of canes are shaped as resh. In architectural ornamentation, the neck of the horse and the tail of the lion are also shaped as resh. Ram heads, too, are present in both Jewish and Christian symbolism.
Çeper said, “Beyond these, all musical notes are derived from resh figures of Christian apostology. The notational signs of measured music were invented in 1338 by Jean de Murris, a member of the Paris Episcopal Council. In keeping with tradition, sacred abbreviations, later termed ‘profane’ by modern thinkers, were used to represent these signs.”
Çeper also noted that playing cards are entirely constructed from symbolic codes: “Clubs represent the clover leaf or the Holy Trinity; hearts stand for the dual resh, symbolizing the unity of Father and Son. The spade king’s crown is encircled by diagrammatic signs supporting the linear sequence of double resh. His hair and beard are coiled resh. On his chest is the ten-rayed halo of the Messiah.
The crown of the diamond queen named ‘Rachel’ contains triple resh figures, symbolizing the Father, Son, and Holy Spirit. The club queen’s crown is also decorated with triple resh. The club jack’s hair is composed of spiral resh forms, and on his chest is the haloed head of the Messiah.”
Punctuation marks are derived from the symbols of religious ideology
Ramazan Çeper noted that even the punctuation marks we use in daily writing have emerged through religious and ideological frameworks. He stated:
“All of the punctuation marks we use in everyday writing have been drawn from the symbols of religious ideology. The abbreviation for God (?) was transformed into the question mark; the paragraph symbol contains an ‘s’, line beginnings use ‘q’, and parentheses and quotation marks (“) are modeled after double resh. The apostrophe and comma are both based on resh (,). The colon (:) comes from diagrammatic resh, while the semicolon and period (;.) are created by stacking resh forms on top of one another.”
Source: ANF News
