‘Harem’ explores the mysterious world of the Ottoman palace, the lives of women in the imperial harem and the musical culture of the period.
“Harem Ballet,” staged by director and choreographer Merih Çimenciler in 1998 as part of celebrations marking the 700th anniversary of the Ottoman Empire, continues to meet audiences 28 years later, with successive generations of dancers bringing the production to life.
The ballet explores the mysterious world of the Ottoman palace, the lives of women in the imperial harem and the musical culture of the period. It has been performed on numerous stages in Türkiye and abroad.
Staged by the Ankara State Opera and Ballet, the production has played to full houses for 28 years, earning a place among Türkiye’s longest-running ballets.
Speaking to state-run Anadolu Agency, Çimenciler said he had never imagined the work would remain on stage for so long.
“I never thought, when it was first staged years ago, that it would last 28 years. Moreover, there are no empty seats at any performance, so it is certainly wonderful to see the venue packed with audiences,” he said.
Çimenciler said the public’s enduring interest in Ottoman history, the story’s realism and the use of Turkish music had helped sustain the ballet’s popularity.
He emphasized that the imperial harem should not be viewed solely as a place associated with sultans and palace life, noting that women living there underwent extensive education.
“I believe audiences have shown great interest because it was an academy. The women received training, took music lessons, read books and went on to become mothers of princes,” he said.
Çimenciler said he had conducted extensive research into the imperial harem and spent three years preparing the production, drawing on historical sources.
“What makes this work valuable is its realism. Telling Ottoman history through the performing arts has resonated with audiences, which is why it continues to attract interest every year,” he said.
Traditional Turkish music meets ballet
One of the production’s distinctive features is its combination of ballet with traditional Turkish musical instruments, including the ney, kanun, bendir and davul, alongside piano and orchestral music.
The ballet incorporates compositions by prominent Turkish composers such as İsmail Dede Efendi and Hacı Arif Bey. Çimenciler said he sought to integrate the music with the events unfolding on stage, making it part of the narrative rather than merely an accompaniment to the dancing.
The production was also staged at the Shanghai Expo in 2010, where it attracted audiences from different cultural backgrounds. It has appeared at various festivals abroad and was included in the repertoire of Germany’s Dortmund Staatsoper.
Over the past 28 years, successive generations of dancers have joined the production, making each season a renewed journey for its choreographer.
Çimenciler praised the dancers’ national and international achievements, saying their performances contributed to the production’s quality.
“I experience a different excitement at every rehearsal. They are very good because my dancers are extraordinary,” he said.
He added that some audience members had watched the ballet more than once and that the strong response motivated the team to keep improving.
“We try to live up to our audience’s expectations and do good work,” he said.
Çimenciler said the production had received new invitations from abroad and that he hoped to continue representing Turkish ballet on international stages.
‘Humility is very important’
Now in his 57th year in the arts, Çimenciler has also created a ballet adaptation of Reşat Nuri Güntekin’s novel “Çalıkuşu,” a production about the martyrs of Çanakkale and the work “Fırat.”
He said dedication to work and humility were essential to a lasting artistic career.
“I love working, but I never like becoming conceited. People should always remain humble, and that is what I try to do,” he said.
His interest in history has shaped much of his artistic work. Recalling that he played Hürrem Sultan at a young age, Çimenciler said Ottoman history had always held a special place in his life.
He added that the Ottoman palace and harem continued to fascinate audiences in different countries, with the ballet offering a glimpse into that historical world.
Çimenciler said he hoped “Harem Ballet” would continue reaching audiences in different countries and venues, stressing the importance of representing Türkiye internationally.
“Wherever our country wants us to represent it successfully, we will be ready to go,” he said.
The ballet will return to Ankara for its first performances of the new season at Atatürk Arts Center, a different venue from its previous performances.
Thanking audiences for their support over nearly three decades, Çimenciler said, “I thank our audience time and again for their interest, attention and appreciation over these 28 years, and extend my respects on behalf of the State Ballet.”
