Ceyran Mahmudova, daughter of the renowned Azerbaijani composer Emin Sabitoglu and Rector of the Azerbaijan University of Culture and Arts, gave an extensive interview to Modern.az. In our conversation with Ceyran Mahmudova, we discussed her family roots, the creativity of the prominent composer Emin Sabitoglu, his musical world and personal characteristics, as well as the problems of culture and art in modern times. During the interview, Ceyran Mahmudova also touched upon current topics such as her activities as rector, innovations implemented in the education system, challenges faced by students, and the impact of artificial intelligence on art.
"My grandmother, who was from the lineage of the Iravan Khan, handed over all documents to the State Archive"
- Ms. Ceyran, Emin Sabitoglu's grandmother, your great-grandmother Afshan Khanum, was a representative of the Iravan Khan's lineage. Your thoughts on your family's deep roots are interesting. How do you remember your grandmother?
- Yes, my grandmother is a representative of the Iravan Khan's lineage. Her maiden name was Iravanski. After marrying Mahmud bey Mammadbəyov, a representative of the bey lineage, her surname changed to Mammadbəyova. But for me, she was simply our great-grandmother. I was already 18-19 years old when she passed away. We perceived her as a great-grandmother, an elder of the family who showed us attention and affection from childhood, and was always by our side.
For me, there was nothing special about my grandmother being from the lineage of the Iravan Khan. Because that was the Soviet era. In that era, it was not fashionable to talk about khans and beys. In fact, we didn't even emphasize it. Not because we were afraid. In the 80s, that fear was gone, and it was freer to talk about it. But even if she hadn't been a representative of the khan's lineage, I would have loved her just as much. Because when a person opens their eyes and has good grandparents, they perceive them as real grandparents, or a child whose parent is a composer, writer, or artist accepts them as a parent, not as a famous person. Therefore, for me, of course, my great-grandmother was one of the best grandmothers. Despite being a representative of the khan's lineage, she was a very simple person and never presented herself as someone who should sit in high places.
- You mentioned that you were 18-19 years old. You probably remember the memories your grandmother shared with you and your family. Can you tell us some of them?
- She talked about her life, shared her memories. She talked about their houses in Iravan, going to the summer pasture by phaeton, and spending the whole summer in their garden houses in the Darachichak region. My great-grandmother moved to Baku in 1918 after getting married. Because my great-grandfather Mahmud bey was Azerbaijan's first railway engineer who studied in St. Petersburg. Since his work was related to railways, they moved to Baku and lived there. Unfortunately, my great-grandfather passed away early, and my great-grandmother was widowed at the age of 35 with three children.
- Your grandmother also received an education in that era...
- Before she got married, she studied at Taghiyev's girls' school with her sister. She studied there for two years. My grandmother used to say that on Eid al-Adha and Ramadan Bayram, the students would line up, and Haji Zeynalabdin Taghiyev would give each of them gold ten-ruble coins as a holiday gift. At that time, I didn't delve much into the essence of these holidays, because I was a pioneer-Komsomol child. My grandmother told me that our house in Iravan had been destroyed. Her father's house was already destroyed in the 70s and early 80s. Almost all of my grandmother's family moved to Baku after 1918.
- Had you seen your grandmother's books, documents related to the khanate?
- My grandmother generally took all the documents she had and handed them over to the State Archive. For example, these days, Ms. Farida Safiyeva, who is the head of a department at our university, one of the activists of the Western Azerbaijan community, and the head of the Iravan community, is working on her next book dedicated to Western Azerbaijan, and information about our family tree is included in both her first and second books. She went to the archive and found the materials that my great-grandmother had once handed over regarding our family. My grandmother used to tell her mother, my great-grandmother, to keep the archives in the family, but my great-grandmother entrusted them to the state.
"My father, like all creative people, was a complex person"
- Your father Emin Sabitoglu was one of the special figures for Azerbaijani culture. He composed music for nearly 600 songs and about 40 films. Some say that your father was not a very talkative person by nature; his music always spoke for him. In your opinion, in which of Emin Sabitoglu's works is his inner world felt most clearly?
- I don't think so. He had many friends. He was a very communicative person. I don't consider him a closed person. My father was open to people. A closed person is someone who doesn't want to communicate with anyone, doesn't share their thoughts with others. My father was definitely not like that. He was always surrounded by his friends and acquaintances. He worked with many singers and poets, and I think that, in general, to understand any creative person, one needs to look at, read, and listen to their works. And my father's music was very different.
Each of us has several sides - sad, cheerful. Humans are very complex creatures. My father, like all creative people, was a complex person. When you listen to his sad music, you think, how sad this person was. For example, if listening to songs like "Uzaq yaşıl ada" (Distant Green Island) and "Alagözlüm" (My Hazel-Eyed One) gives the impression of a sad person, when you listen to his other cheerful songs, you think, how cheerful and optimistic this person was to write such songs.
If we were to talk about a specific musical work, the music that characterizes him in my world would be the waltz he wrote for the film "Our Teacher Jabish". That's how I feel. Maybe this is not correct. Perhaps if you asked him, he might give a different answer.
- Has Emin Sabitoglu ever had a composition he called his "masterpiece", and at the same time, as both a musician and his daughter, which of his works would you call the best?
- Probably two of his works can be specially mentioned. One of them is the music in the film "Dede Korkut", and the other is the music in the film "Gün keçdi" (The Day Passed). Both works, along with their songs and musical pieces, are among the most outstanding examples of his creativity.
- Emin Sabitoglu can be called the Ennio Morricone of Azerbaijan. Because there are composers who compose music for certain words, and there are composers who combine a 1.5-hour, 2-hour film into one piece of music. For example, Ennio could express "The Good, the Bad and the Ugly" and Emin Sabitoglu could express the films "If I Die, Forgive Me" and "Park" with one piece of music. How would you explain his different approach and the main characteristics of his style?
- He had a great interest in cinema. Because to write music for so many films, of course, there must be an interest in cinema. If he had no interest, he would not have worked in this field. Not every composer can work in the field of cinema. Secondly, my father graduated from the Moscow State Conservatory with a degree in composition, and his first job was as a music editor at the Azerbaijan State Film Studio. I think that his interest in cinema arose to some extent from his work activity. But this interest is also genetic, because my grandfather Sabit Rahman once completed higher screenwriting courses in Moscow. He was not only a writer-dramatist, but also the screenwriter of a number of films. Among them, Sabit Rahman was also the screenwriter of the film "Arshin Mal Alan", shot in 1945. Therefore, the interest in cinematography was both genetically inherited and further shaped by his first job being at a film studio. He started his career by writing music for documentary and landscape films, and gradually moved on to big cinema, full-length films.
"My father had no enmity with anyone"
- Zumrud Dadashzade writes in her memoirs that one day when Emin Sabitoglu was at their place, his mother was listening to a music record by Francis Lai, and then he thought and said: "If I could write such music, I would consider myself a happy man." He also loved Nino Rota, who composed the music for "The Godfather" film. So, among Azerbaijani composers, his contemporaries, whom did Emin Sabitoglu consider his idol?
- My father loved the works of all Azerbaijani composers very much. Uzeyir bey was an idol for everyone. The talk of idols and stars arose later. In the period when my father lived and his creativity developed, there were no such talks. When Shovkat Alakbarova was alive, no one called her a star or the queen of our stage. She was simply Shovkat Alakbarova and was loved and known. No one called Rashid Behbudov a star at that time. But he was a star in the true sense of the word.
Therefore, that era is different. Of course, Uzeyir bey was one of my father's most beloved composers. Gara Garayev, Fikrat Amirov, Tofig Guliyev, Rauf Hajiyev, as well as many other composers living at that time, were my father's favorite composers. He also knew, performed, and recognized the works of other composers very well. His interest was not only his own creativity, only music. He read a lot from childhood. By the time he was 40, he had already finished reading all classical literature. He read modern literature - all the books that were published at that time.
- Your father's closest friends were Anar, Vagif Samadoglu, and Araz Dadashzade. Were there any artists he didn't get along with?
- Rasim Ojagov was also one of his closest friends. As for people he didn't get along with, my father had no enmity with anyone. In general, he was a person who disliked conflicts. He saw no one as a rival. He didn't argue or fight with anyone. He had no business with anyone. He had no ambition to hold any position. He lived in the flow of his own creativity.
- In films like "Park", "Tahmina", "Seven Days After the Murder", "If I Die, Forgive Me", the theme of unrequited love is expressed very touchingly with Emin Sabitoglu's music. The emotional load of these works is quite strong. Do you think the energy and themes of these films had a certain impact on his inner world, his subconscious? In general, is such an interaction between creativity and personal life possible?
- You know, this connection is not direct. People think that if someone has had an unrequited love in their life, they will definitely compose a work, paint a picture, or write a poem about unrequited love. This is to primitivize creativity. For example, the first sad event in my father's life was the death of his own father. My grandfather was 60 years old when he passed away. My father would have been 34 then. But a year before that, in 1969, he wrote a very sad song for the film "Our Teacher Jabish".
"He missed Baku very much, his mother, we were here"
- We have heard Emin Sabitoglu's own voice mostly in songs like "Aman Ayrılıq" (Oh, Separation) and "Gəl qoşulaq durnalara" (Let's Join the Cranes), and in these performances, a deep sincerity, sadness, and even a kind of "regret" are felt. It's as if experiences like separation were necessary for these songs to be so impactful. What do you think, did Emin Sabitoglu have a lot of sadness in his life?
- He would go behind the piano and perform himself at friendly gatherings, wherever there was a piano. But he never considered himself a performer. We have artists who are both composers and performers, for example, Polad Bulbuloglu - he is both a wonderful composer and one of the best performers of his songs. I also like his songs most in his own performance. My father, however, had no ambition to perform. For example, the song "Gəl qoşulaq durnalara" was written in the last years of his life, when he lived in Turkey. The lyrics belong to Anar, my father composed the music, and this song was generally not intended for wide distribution. At that time, there were no social networks like today. Nevertheless, some of his performances were filmed by Azerbaijan State Television. In programs dedicated to poets, he was asked to perform the songs he wrote to the words of those poets. He performed his songs not as a singer, but simply as an author. These videos are stored in the AzTV archive and are currently available on YouTube.
As I mentioned earlier, he performed the song "Gəl, qoşulaq durnalara" in the last years of his life, in Turkey. People living outside their homeland often feel nostalgia. During his years working in Turkey, my father worked at Istanbul Technical University. There was a Folk Music Conservatory under the university, and he worked there for six years, from 1994 until his death in 2000. My father was shown great respect and care; he had a private office. Even 10-15 years after his death, the plaque with his name remained on that room. He trained many students there, and today some of those students teach at the same university. Turkey has always been a very dear country to us. But he missed Baku very much. His mother, we were here.
"Emin Sabitoglu's works have two legal heirs: me and his second wife Khadija Abbasova"
- Ms. Ceyran, you mentioned that during Emin Sabitoglu's lifetime, there were no platforms like "YouTube", and today those music pieces are openly broadcast. Have you experienced any legal problems related to this?
- Emin muallim's works have two legal heirs. One of them is me, and the other is his second wife, Khadija Abbasova. These rights currently belong to both of us. I have not been involved in specific legal registration work related to "YouTube". Frankly, I haven't been able to allocate time for it. Although I am not dealing with these issues yet, such a possibility is not excluded in the future.
- By the way, have you had any relationship with Emin muallim's second wife, Khadija khanum, and if so, does it still continue?
- We have normal, human relations. When we see each other, we say "hello-goodbye". That's all. It should be noted that she lives in Turkey, and I live here.
- Emin Sabitoglu has 1 symphony, 3 symphonic poems, and 3 cantatas, but these works are almost non-existent on open platforms. Do you plan to do anything to make them accessible to a wider audience?
- That symphony was performed at my father's 80th anniversary at the Azerbaijan State Philharmonic by the State Symphony Orchestra under the baton of Rauf Abdullayev. His poem for violin and orchestra was also performed. These works were performed for the second time in Baku then. They were first presented years ago. They are in the fund of Azerbaijan State Television. I have not been involved in making them accessible to a wider audience. Frankly, I haven't been able to allocate time for it. I haven't had the opportunity to specifically deal with this area. I haven't taken any steps in this direction yet, but I may in the future.
- Is it more important for you to be introduced as Emin Sabitoglu's daughter or to be remembered as Ceyran Mahmudova?
- I have been performing my official duties for some time now. Of course, I never forget who my father and mother were. But at the same time, I have official obligations to fulfill. Internally, as an individual, of course, I bear responsibility towards my family. But as an official, I have been the head of the university since 2018. This does not create any contradiction for me. Both complement each other.
"I have opened a special e-mail address for students called 'Letter to the Rector'"
- Let's move on to your activities then. You have been the rector of the University of Culture and Arts for eight years, and this is a sufficiently long time to evaluate both reforms and the overall picture. What have you changed in the university during these years?
- Before I was appointed rector of the university, I worked as the dean of the music faculty for one year. Already during my deanship, the university had entered a new stage in its history. The previous rector had done very useful work in changing and renewing the environment at the university. When I was appointed rector by Mr. President in 2018, I was faced with the task of continuing and further developing these works.
How successful it has been is difficult for me to say; let others evaluate it. But we have tried to create a transparent, fair, and creative environment at the university. As rector, I attach special importance to being accessible to students. I meet with them frequently. I hold faculty-by-faculty meetings with class representatives of all university groups almost every year or every two years. Only I and my assistant participate in these meetings – there are no vice-rectors or deans, so that students can openly express their opinions and problems without hesitation from anyone.
In these meetings, students share their complaints or suggestions on various issues, and I find this direct communication very useful. In addition, for almost five years now, I have had a special e-mail address called "Letter to the Rector". I personally check this e-mail. The address has been shared on social networks and presented to students, especially class representatives. Any student can write there regarding any appeal.
I would also like to specifically note that the confidentiality of students' appeals is fully protected. I never mention specific names. I only provide information about the issue at the course or group level. Thus, when an investigation is conducted, the identity of the appealing student is not disclosed, and their safety is ensured. This is not just a special innovation I have made. We have reception days every week. Both students, parents, and external applicants register for reception, and I receive them. If someone has a question, problem, complaint, or request, we listen and try to resolve it within our means. This is very important for establishing feedback.
- The field of culture is quite specific. In this case, do you have any collaborations in the field of culture and art with other higher education institutions operating in Azerbaijan?
- Of course, we constantly participate in each other's events, we have joint projects and exhibitions. The "Pillə" student theater festival has been held for several years now, and this year it will be organized for the fourth time. The festival is held among acting students of the Faculty of Theater Arts. Approximately 60 students are admitted each year, but first-year students are not involved in this festival. Mainly third and fourth-year students participate, and in total, more than 100 students present their performances.
Selected performances are showcased within the festival. I have no involvement in this selection; I am not on the jury, I do not evaluate, I only participate in the awards ceremony. I attend the opening and closing ceremonies. This creates a strong creative environment for students, they compete with each other, watch each other's work, and this serves as a serious stimulus for them.
For several years now, such an interest has arisen within the university among students: "Whose play will pass to the festival this year?" In the last two years, the scale of the festival has expanded even further. Last year, we appealed to all Azerbaijani higher education institutions, and 10 universities participated in the festival. Baku State University, Pedagogical University, Languages University, Lankaran State University, Nakhchivan State University, and other higher education institutions participated. They do not compete with our students, because our students receive professional acting training. Those universities compete among themselves. For example, last year, the play of Baku State University won first place. The winners were awarded, and the rectors were also invited to the closing ceremony. The festival will be held this year as well. We invite those who express pessimistic views about the present and future of Azerbaijani theater to come and watch student performances. Because our students produce very high-level works. In the last four years, 44 of our graduates have been employed in Azerbaijani state theaters, which is a great success for the university.
- Are you generally satisfied with the students?
- We have very strong creative young people. Our graduates are also successful in the field of cinema, their films are shown not only in Azerbaijan but also abroad and win awards at festivals. University graduates pursue master's degrees in foreign countries. We have actors, directors, and cinematographers who continue their education in the USA and various European countries. This shows that high-level education is provided at the university and we are raising a strong new generation.
"Our university needs large auditoriums"
- You mentioned that students can complain directly to you. If we group these complaints into a few categories, what conclusions can we draw?
- One of the main requests of students is related to auditoriums. We need large auditoriums, and both the ministry and the leadership are aware of this situation. We are trying to eliminate this. The building we currently use was once an Energy Technical School and later the university was located here. Previously, we only taught in the building near the "Sahil" metro station. Currently, we have three buildings operating: the main building, the Art building located in the courtyard, and the third building located on Zardabi Avenue. Nevertheless, we would like to have large auditoriums.
That's why we haven't increased our admission plan for years; the university's capacity is limited. However, the number of applicants is higher, and if possible, we could admit more students.
Other issues are more academic and social in nature. For example, there are cases of failing exams, which is now considered normal. Students, adapting to the Bologna system, know that it is possible to make up for deficiencies later, and this does not hinder the continuation of their education.
There are also financial difficulties. In such cases, we try to support students. The number of state-funded places is increased, and at the same time, a student loan system operates, providing great opportunities with low interest rates. When necessary, individual concessions are also applied within the university, giving students the opportunity to complete their payments after a certain period. We try to support students both academically and socially within our means.
"We do not have the authority to provide employment for our graduates"
- When we look at the "Graduate Employment Ranking", we see that 57 percent of ADMIU graduates find jobs, but most of them do not work in their own fields. In your opinion, what obligations does the university have to prevent such situations, and what steps is the university you lead taking in this regard?
- The university is not an employment agency, it is an educational institution, and our main task is to provide education. Sometimes people say that young people, actors are unemployed – what is the university doing? The university's function is to train professional staff.
In this educational institution, which has been operating since 1923, starting as the Baku Theater School, then becoming an institute and later a university, there has never been a situation where all graduates of a single course became successful actors. If you ask any People's Artist or Honored Artist, they will say that only a few people were selected from their courses, and others were not. This is related to the nature of art itself. Yes, there are many talented young people among our graduates, and their inability to find their place also worries me. But it should be noted that the number of state theaters is limited, and representatives of various generations work there. An actor, however, must be on stage or filmed.
We strive to expand the opportunities for our students. For example, we invite heads of various theaters and producers to the performances of the "Sabah" groups. Representatives of institutions such as the Academic National Drama Theater, the Young Spectators Theater, the Musical Theater, and the Russian Drama Theater participate in these events. We apply the same approach to the "Pillə" festival. We do this because it is the theater directors who hire actors. The university cannot dictate to any theater to hire this graduate. This is not within our authority. Our duty is to provide good education and train talented personnel. For example, this year we have very strong graduates in the "Sabah" groups, a very good course of approximately 10-12 people is being released. But their subsequent working life is already beyond our sphere of influence.
Nevertheless, in recent years, more than 30 of our graduates have been employed at the university, and the number of our young teachers, including our graduates, and auxiliary teaching staff is increasing year by year.
- Given the limited number of state theaters, is there a need for so many actors to graduate every year? Do you think the number of vacant places at ADMIU should be reduced?
- The admission plan at our university is almost completely filled, approximately 94 percent. So, we don't have a problem with vacant places. On the contrary, there is great competition. For example, when I was appointed rector, approximately 65-66 people applied for 60 places, whereas last year there were nearly 300 applications for 60 places. Last year, we even reduced the admission plan to 50 places, but despite this, the interest was still very high.
- Does this stem from an interest in these cultural fields, or from lower passing scores?
- At our university, the aptitude test is one of the main conditions for admission. For example, for many years, People's Artist Shafiqe Khanum Mammadova led the aptitude tests for acting. She is not a university teacher; she is invited from outside and is a very influential artist in this field. Regardless of the admission score, if the applicant does not have talent for art, theater, or acting, they cannot pass this exam. It doesn't matter if they come with 500 points. This is purely a matter of aptitude. The same applies to other specialties. How can someone without a voice pass a vocal exam? How can someone who cannot play a musical instrument succeed? This is not possible. Therefore, aptitude tests are a very important and decisive stage at our university. I would like to specifically note that I have no interference in these exams. I am not a member of the commission and do not interfere in the process. The commission members conduct the evaluation completely independently. In all these years, there has not been a single instance of an instruction being given regarding any applicant. I say this with full responsibility, there is no external influence or instruction in the aptitude tests.
"We have started working in the field of artificial intelligence"
- Ms. Ceyran, one of the main issues currently being discussed is the impact of artificial intelligence on various fields. In this regard, creative fields particularly attract attention. As a university, what do you plan to do to eliminate the negative impact of artificial intelligence on culture and art?
- We have already started working in this area. We are diligently striving to implement Mr. President's instructions regarding artificial intelligence at a high level. Last year, we held an international conference titled "Artificial Intelligence and Art". The event took place at the Academy of Sciences library and was attended by representatives from five countries. We organized the conference jointly with Azerbaijan Technical University and the Institute of Information Technologies of the Ministry of Science and Education. I should note that I was one of the initiators of the project.
Our activities in this direction are not limited to this. Before that, we invited academician Rasim Aliguliyev to our university. He held a meeting with the members of the Scientific Council and conducted an extensive discussion on the impact of artificial intelligence on art, the opportunities it creates, and possible risks.
Later, at the invitation of Mr. Rasim, we went to the Institute of Information Technologies and held a joint Scientific Council meeting there. This meeting was officially protocolled and documents were signed. For two years now, the subject "Artificial Intelligence and Art" has also been taught at our university. For this reason, the topic of artificial intelligence is not new to us. The university's Public Relations and Marketing Department regularly shares various materials, clips, videos, and holiday greetings prepared using artificial intelligence. The employees of that department participate in local and international courses related to artificial intelligence and improve their knowledge. In other words, this technology has already become a part of our daily activities. I consider this direction very important and highly appreciate Mr. President's instructions regarding artificial intelligence. The prioritization of this field at the state level creates additional opportunities for us. The interaction between artificial intelligence and art, in my opinion, is one of the most relevant and interesting topics.
"Our university cannot be moved from the capital to a region"
- The relocation of universities to various regions is also discussed from time to time. In this regard, what would be your attitude towards the issue of relocating the Azerbaijan State University of Culture and Arts from the capital?
- Approximately 2500 students study at our university, and according to this indicator, we are one of the smallest higher education institutions in the country. At the same time, a significant part of our teaching staff works in theaters, television, museums, and media in parallel. It is important for us that our People's and Honored Artists teach, because it is our duty to ensure that students receive education from the best specialists.
For this reason, the location of the university in the capital is an important factor. Many of our teachers are engaged in daily theater activities and also teach. It would be difficult to maintain this rhythm in the regions. On the other hand, our students and teachers mainly use public transport, and our activities are closely linked to the cultural environment, theaters, museums, and exhibition halls.
Nevertheless, if there is a state decision, we are ready to operate in any region. We can work with great pleasure in Shaki, Gabala, Nakhchivan, Khankendi, and other regions. Because there are talented young people everywhere in Azerbaijan, and students from almost all regions study at our university.
- Ms. Ceyran, the Business Organization and Management (MBA) program specializing in culture and art in Azerbaijan has been organized at ADMIU. How successful do you consider this program?
- I consider it very successful. Because many people involved in organization in the field of culture do not have special education in this field. When we opened the MBA program, this need clearly showed itself. Even the heads of cultural institutions called us and thanked us. The MBA program was initially planned to be taught in a modular format. Later, by decision of the Ministry of Education, this program was transferred to the Faculty of Culturology. Although this change was not our initiative, we are implementing the decision and had also submitted our proposals. In my personal opinion, the modular system is more suitable, especially for the MBA program. Because specialists teaching in this program often participate in projects and are frequently on business trips. The modular system allows for completing courses and exams in a short period and then continuing work activities. But whatever model is considered appropriate, we implement it.
- The issue of renovating the other building comes up from time to time. Is it expected to be renovated in the coming years?
- Regarding the other building, I cannot say that it is in a completely dilapidated state. This building was formerly a dormitory, and we regularly carry out renovation work inside it; it is almost annually repaired, painted, and lighting is checked. Surveillance cameras have been installed, and windows and doors have been renewed in the last two years. But the complete reconstruction of the building is no longer within my authority. Of course, I understand the need in this direction.
- You also state that it is more difficult to find pedagogical staff in the field of culture. In this regard, do you think the salaries and teaching hours of the professor-teacher staff working at ADMIU satisfy them?
- The salaries of our teachers are not low compared to many universities; they are at an average level and in some cases higher. This is an internal matter of the university and is considered competitive in the overall picture. Secondly, care is not limited to salary. We have a very good team, and a collaborative environment has been formed within the university. Faculties work closely with each other: artists prepare costumes for student performances, musicians participate, and cinematographers do filming. In other words, all the opportunities needed for art exist within the university. Of course, as in any team, there are also dissatisfactions. But overall, I think that a creative and healthy working environment has been formed at the university.
"There are problems with our performance halls"
- The level of education and infrastructure in colleges operating under universities is also one of the main issues discussed in society. At what level is the Humanitarian College operating under ADMIU in this regard? Are there any problems with the knowledge level of the teachers studying and teaching there, and with the provision of infrastructure and equipment for the college building?
- The college has been under our university for several years. At that time, the level of education there was not high, and moreover, there were specialties that did not match the profile of our university. For example, physical education, insurance, preschool education, etc. Since these specialties were not related to our field, they were either closed over time or redirected to educational institutions with appropriate profiles.
Our principle is that every educational institution should operate in accordance with its field. Today, the vast majority of the remaining specialties in the college, approximately 80-90 percent, align with the directions taught at our university. For example, students are trained in specialties such as artistic creativity, acting, museum work, and cinematography, and some of them later continue their education at our university.
Currently, I am satisfied with the level of education at the college. College graduates are successful in our field because this field requires special abilities. If a student has talent and enthusiasm, whether in acting or ashug art, they successfully continue at the university. For example, talented ashugs trained at the college later study at our relevant department.
- What methodological and organizational innovations can we expect to see at ADMIU in the near future?
- There are certain discussions regarding a three-year education period in the near future. Ideas are being voiced that some specialties may transition to this model in the future. I don't want to name specific specialties to avoid sensationalism. I am not the person who makes such decisions. When a decision is made, of course, our opinion is asked, and we state our position. But it is impossible to say in advance what the final decision will be. I should also note that in a number of Western universities, the duration of education for some specialties is already three years. If such a model is considered appropriate here as well, we will operate in accordance with that decision.
In addition to auditoriums, we also have problems with our performance halls. Our students suffer during rehearsal processes due to lack of space. It is very gratifying that this problem will also be resolved in the near future. Thus, the construction of the university's Training Theater is currently underway by the relevant structures of the Ministry of Science and Education, and the building will be put into use by students in the near future. There will be a special hall for performances and a filming pavilion. We hope that the construction and commissioning of the Training Theater will be a new contribution to the educational process of our university.
"My daughter's education is not related to culture, nor is her work"
- Ms. Ceyran, you also had a career as a presenter on state television. In general, discussions about television presenters have gained wide momentum recently. As both a professional presenter and the rector of ADMIU, how do you think the process should be regulated? How should those who do not meet certain criteria for presenting be prevented from appearing on air?
- Not only television, but mass media in general have a great impact on people. Sometimes people themselves do not realize how much their words, written opinions, or presented content affect society.
Someone who understands this responsibility approaches it more carefully. Because they have an audience – families, children, teenagers – and they influence their thoughts with their ideas. The direction of this influence is extremely important: does it benefit or harm society, the state, and the future?
I believe that everyone who has the opportunity to speak, write, and disseminate words must deeply understand the responsibility of this power and approach their activities with great caution. Because every word spoken today affects people.
- Do you think creativity is passed from father to son, daughter, or from mother to child?
- No. My grandfather was a writer. My father is a composer. My aunt was an artist. I am neither a composer, nor a writer, nor an artist. I am a musicologist. The influence was that my mother was also a music teacher. I heard music being played at home from childhood. My father's creative friends came to our house, and that environment also influenced me.
- In this regard, does your daughter continue this tradition?
- No, my daughter does not engage in any activity in the field of culture. She loves culture, music, cinema, but neither her education nor her work is related to culture.
