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Anime
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A common anime character design convention is exaggerated eye size. The animation of characters with large eyes in anime can be traced back to Osamu Tezuka, who was deeply influenced by such early animation characters as Betty Boop, who was drawn with disproportionately large eyes. Tezuka is a central figure in anime and manga history, whose iconic art style and character designs allowed for the entire range of human emotions to be depicted solely through the eyes. The artist adds variable color shading to the eyes and particularly to the cornea to give them greater depth. Generally, a mixture of a light shade, the tone color, and a dark shade is used. Cultural anthropologist Rachel Thorn argues that Japanese animators and audiences do not perceive such stylized eyes as inherently more or less foreign. However, not all anime characters have large eyes. For example, the works of Hayao Miyazaki are known for having realistically proportioned eyes, as well as realistic hair colors on their characters.
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Anime
| 800 |
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Hair in anime is often unnaturally lively and colorful or uniquely styled. The movement of hair in anime is exaggerated and "hair actions" is used to emphasize the action and emotions of characters for added visual effect. Poitras traces hairstyle color to cover illustrations on manga, where eye-catching artwork and colorful tones are attractive for children's manga. Despite being produced for a domestic market, anime features characters whose race or nationality is not always defined, and this is often a deliberate decision, such as in the Pokémon animated series.
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Anime
| 800 |
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Anime and manga artists often draw from a common canon of iconic facial expression illustrations to denote particular moods and thoughts. These techniques are often different in form than their counterparts in Western animation, and they include a fixed iconography that is used as shorthand for certain emotions and moods. For example, a male character may develop a nosebleed when aroused. A variety of visual symbols are employed, including sweat drops to depict nervousness, visible blushing for embarrassment, or glowing eyes for an intense glare. Another recurring sight gag is the use of chibi (deformed, simplified character designs) figures to comedically punctuate emotions like confusion or embarrassment.
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Anime
| 800 |
Attributes
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The opening and credits sequences of most anime television series are accompanied by J-pop or J-rock songs, often by reputed bands—as written with the series in mind—but are also aimed at the general music market, therefore they often allude only vaguely or not at all, to the thematic settings or plot of the series. Also, they are often used as incidental music ("insert songs") in an episode, in order to highlight particularly important scenes.
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Anime
| 800 |
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Future funk, a musical microgenre that evolved in the early 2010s from Vaporwave with a French house Euro disco influence, heavily uses anime visuals and samples along with Japanese City pop to build an aesthetic.
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Anime
| 800 |
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Since the 2020s anime songs have experienced a rapid growth in global online popularity due to their widened availability on music streaming services like Spotify and promotion by fans and artists on social media. In 2023, the opening theme Idol by YOASOBI of the anime series Oshi no Ko topped the Billboard Global 200 Excl. U.S. charts with 45.7 million streams and 24,000 copies sold outside the U.S. “Idol” has become the first Japanese song and anime song to top the Billboard Global chart as well as taking the first spot on the Apple Music's Top 100: Global chart.
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Anime
| 800 |
Attributes
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Anime are often classified by target demographic, including children's (子供, kodomo), girls' (少女, shōjo), boys' (少年, shōnen), young men (青年, Seinen), young women (女性, josei) and a diverse range of genres targeting an adult audience. Shoujo and shounen anime sometimes contain elements popular with children of all genders in an attempt to gain crossover appeal. Adult anime may feature a slower pace or greater plot complexity that younger audiences may typically find unappealing, as well as adult themes and situations. A subset of adult anime works featuring pornographic elements are labeled "R18" in Japan, and are internationally known as hentai (originating from pervert (変態, hentai)). By contrast, some anime subgenres incorporate ecchi, sexual themes or undertones without depictions of sexual intercourse, as typified in the comedic or harem genres; due to its popularity among adolescent and adult anime enthusiasts, the inclusion of such elements is considered a form of fan service. Some genres explore homosexual romances, such as yaoi (male homosexuality) and yuri (female homosexuality). While often used in a pornographic context, the terms yaoi and yuri can also be used broadly in a wider context to describe or focus on the themes or the development of the relationships themselves.
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Anime
| 800 |
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Anime's genre classification differs from other types of animation and does not lend itself to simple classification. Gilles Poitras compared the labeling of Gundam 0080 and its complex depiction of war as a "giant robot" anime akin to simply labeling War and Peace a "war novel". Science fiction is a major anime genre and includes important historical works like Tezuka's Astro Boy and Yokoyama's Tetsujin 28-go. A major subgenre of science fiction is mecha, with the Gundam metaseries being iconic. The diverse fantasy genre includes works based on Asian and Western traditions and folklore; examples include the Japanese feudal fairytale InuYasha, and the depiction of Scandinavian goddesses who move to Japan to maintain a computer called Yggdrasil in Ah! My Goddess. Genre crossing in anime is also prevalent, such as the blend of fantasy and comedy in Dragon Half, and the incorporation of slapstick humor in the crime anime film Castle of Cagliostro. Other subgenres found in anime include magical girl, harem, sports, martial arts, literary adaptations, medievalism, and war.
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Anime
| 800 |
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Early anime works were made for theatrical viewing, and required played musical components before sound and vocal components were added to the production. In 1958, Nippon Television aired Mogura no Abanchūru ("Mole's Adventure"), both the first televised and first color anime to debut. It was not until the 1960s when the first televised series were broadcast and it has remained a popular medium since. Works released in a direct-to-video format are called "original video animation" (OVA) or "original animation video" (OAV); and are typically not released theatrically or televised prior to home media release. The emergence of the Internet has led some animators to distribute works online in a format called "original net animation" (ONA).
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Anime
| 800 |
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The home distribution of anime releases was popularized in the 1980s with the VHS and LaserDisc formats. The VHS NTSC video format used in both Japan and the United States is credited with aiding the rising popularity of anime in the 1990s. The LaserDisc and VHS formats were transcended by the DVD format which offered the unique advantages; including multiple subtitling and dubbing tracks on the same disc. The DVD format also has its drawbacks in its usage of region coding; adopted by the industry to solve licensing, piracy and export problems and restricted region indicated on the DVD player. The Video CD (VCD) format was popular in Hong Kong and Taiwan, but became only a minor format in the United States that was closely associated with bootleg copies.
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Anime
| 800 |
Attributes
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A key characteristic of many anime television shows is serialization, where a continuous story arc stretches over multiple episodes or seasons. Traditional American television had an episodic format, with each episode typically consisting of a self-contained story. In contrast, anime shows such as Dragon Ball Z had a serialization format, where continuous story arcs stretch over multiple episodes or seasons, which distinguished them from traditional American television shows; serialization has since also become a common characteristic of American streaming television shows during the "Peak TV" era.
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Anime
| 800 |
Industry
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The animation industry consists of more than 430 production companies with some of the major studios including Toei Animation, Gainax, Madhouse, Gonzo, Sunrise, Bones, TMS Entertainment, Nippon Animation, P.A.Works, Studio Pierrot, Production I.G, Ufotable and Studio Ghibli. Many of the studios are organized into a trade association, The Association of Japanese Animations. There is also a labor union for workers in the industry, the Japanese Animation Creators Association. Studios will often work together to produce more complex and costly projects, as done with Studio Ghibli's Spirited Away. An anime episode can cost between US$100,000 and US$300,000 to produce. In 2001, animation accounted for 7% of the Japanese film market, above the 4.6% market share for live-action works. The popularity and success of anime is seen through the profitability of the DVD market, contributing nearly 70% of total sales. According to a 2016 article on Nikkei Asian Review, Japanese television stations have bought over ¥60 billion worth of anime from production companies "over the past few years", compared with under ¥20 billion from overseas. There has been a rise in sales of shows to television stations in Japan, caused by late night anime with adults as the target demographic. This type of anime is less popular outside Japan, being considered "more of a niche product". Spirited Away (2001) was the all-time highest-grossing film in Japan until overtaken by Demon Slayer: Kimetsu no Yaiba – The Movie: Mugen Train in 2020. It was also the highest-grossing anime film worldwide until it was overtaken by Makoto Shinkai's 2016 film Your Name. Anime films represent a large part of the highest-grossing Japanese films yearly in Japan, with 6 out of the top 10 in 2014, in 2015 and also in 2016.
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Anime
| 800 |
Industry
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Anime has to be licensed by companies in other countries in order to be legally released. While anime has been licensed by its Japanese owners for use outside Japan since at least the 1960s, the practice became well-established in the United States in the late 1970s to early 1980s, when such TV series as Gatchaman and Captain Harlock were licensed from their Japanese parent companies for distribution in the US market. The trend towards American distribution of anime continued into the 1980s with the licensing of titles such as Voltron and the 'creation' of new series such as Robotech through the use of source material from several original series.
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Anime
| 800 |
Industry
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In the early 1990s, several companies began to experiment with the licensing of less child-oriented material. Some, such as A.D. Vision, and Central Park Media and its imprints, achieved fairly substantial commercial success and went on to become major players in the now very lucrative American anime market. Others, such as AnimEigo, achieved limited success. Many companies created directly by Japanese parent companies did not do as well, most releasing only one or two titles before completing their American operations.
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Anime
| 800 |
Industry
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Licenses are expensive, often hundreds of thousands of dollars for one series and tens of thousands for one movie. The prices vary widely; for example, Jinki: Extend cost only $91,000 to license while Kurau Phantom Memory cost $960,000. Simulcast Internet streaming rights can be cheaper, with prices around $1,000–2,000 an episode, but can also be more expensive, with some series costing more than US$200,000 per episode.
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Anime
| 800 |
Industry
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The anime market for the United States was worth approximately $2.74 billion in 2009. Dubbed animation began airing in the United States in 2000 on networks like The WB and Cartoon Network's Adult Swim. In 2005, this resulted in five of the top ten anime titles having previously aired on Cartoon Network. As a part of localization, some editing of cultural references may occur to better follow the references of the non-Japanese culture. The cost of English localization averages US$10,000 per episode.
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Anime
| 800 |
Industry
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The industry has been subject to both praise and condemnation for fansubs, the addition of unlicensed and unauthorized subtitled translations of anime series or films. Fansubs, which were originally distributed on VHS bootlegged cassettes in the 1980s, have been freely available and disseminated online since the 1990s. Since this practice raises concerns for copyright and piracy issues, fansubbers tend to adhere to an unwritten moral code to destroy or no longer distribute an anime once an official translated or subtitled version becomes licensed. They also try to encourage viewers to buy an official copy of the release once it comes out in English, although fansubs typically continue to circulate through file-sharing networks. Even so, the laid back regulations of the Japanese animation industry tend to overlook these issues, allowing it to grow underground and thus increasing its popularity until there is a demand for official high-quality releases for animation companies. This has led to an increase in global popularity of Japanese animation, reaching $40 million in sales in 2004.
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Anime
| 800 |
Industry
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Since the 2010s anime has become a global multibillion industry setting a sales record in 2017 of ¥2.15 trillion ($19.8 billion), driven largely by demand from overseas audiences. In 2019, Japan's anime industry was valued at $24 billion a year with 48% of that revenue coming from overseas (which is now its largest industry sector). By 2025 the anime industry is expected to reach a value of $30 billion with over 60% of that revenue coming from overseas.
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Anime
| 800 |
Industry
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Japan External Trade Organization (JETRO) valued the domestic anime market in Japan at ¥2.4 trillion ($24 billion), including ¥2 trillion from licensed products, in 2005. JETRO reported sales of overseas anime exports in 2004 to be ¥2 trillion ($18 billion). JETRO valued the anime market in the United States at ¥520 billion ($5.2 billion), including $500 million in home video sales and over $4 billion from licensed products, in 2005. JETRO projected in 2005 that the worldwide anime market, including sales of licensed products, would grow to ¥10 trillion ($100 billion). The anime market in China was valued at $21 billion in 2017, and is projected to reach $31 billion by 2020. The global anime market size was valued at $26.055 billion in 2021 with 29% of the revenue coming from merchandise. It is expected that the global anime market will reach a value of $47.14 billion by 2028. By 2030 the global anime market is expected to reach a value of $48.3 Billion with the largest contributors to this growth being North America, Europe, China and The Middle East. In 2019, the annual overseas exports of Japanese animation exceeded $10 billion for the first time in history.
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Anime
| 800 |
Industry
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The anime industry has several annual awards that honor the year's best works. Major annual awards in Japan include the Ōfuji Noburō Award, the Mainichi Film Award for Best Animation Film, the Animation Kobe Awards, the Japan Media Arts Festival animation awards, the Seiyu Awards for voice actors, the Tokyo Anime Award and the Japan Academy Prize for Animation of the Year. In the United States, anime films compete in the Crunchyroll Anime Awards. There were also the American Anime Awards, which were designed to recognize excellence in anime titles nominated by the industry, and were held only once in 2006. Anime productions have also been nominated and won awards not exclusively for anime, like the Academy Award for Best Animated Feature or the Golden Bear.
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Anime
| 800 |
Industry
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In recent years, the anime industry has been accused by both Japanese and foreign media of underpaying and overworking its animators. In response the Japanese Prime Minister Fumio Kishida promised to improve the working conditions and salary of all animators and creators working in the industry. A few anime studios such as MAPPA have taken actions to improve the working conditions of their employees. There has also been a slight increase in production costs and animator pays during the COVID-19 pandemic. On April 27, 2023, Nippon Anime Film Culture Association (NAFCA) was officially founded. The association aims to solve problems in the industry, including the improvement of conditions of the workers.
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Anime
| 800 |
Globalization and cultural impact
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Anime has become commercially profitable in Western countries, as demonstrated by early commercially successful Western adaptations of anime, such as Astro Boy and Speed Racer. Early American adaptions in the 1960s made Japan expand into the continental European market, first with productions aimed at European and Japanese children, such as Heidi, Vicky the Viking and Barbapapa, which aired in various countries. Italy, Spain, and France grew a particular interest in Japan's output, due to its cheap selling price and productive output. As of 2014, Italy imported the most anime outside Japan. Anime and manga were introduced to France in the late 1970s and became massively popular in spite of a moral panic led by French politicians in the 1980s and 1990s. These mass imports influenced anime popularity in South American, Arabic and German markets.
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Anime
| 800 |
Globalization and cultural impact
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The beginning of 1980 saw the introduction of Japanese anime series into the American culture. In the 1990s, Japanese animation slowly gained popularity in America. Media companies such as Viz and Mixx began publishing and releasing animation into the American market. The 1988 film Akira is largely credited with popularizing anime in the Western world during the early 1990s, before anime was further popularized by television shows such as Pokémon and Dragon Ball Z in the late 1990s. By 1997, Japanese anime was the fastest-growing genre in the American video industry. The growth of the Internet later provided international audiences with an easy way to access Japanese content. Early on, online piracy played a major role in this, through over time many legal alternatives appeared. Since the 2010s various streaming services have become increasingly involved in the production and licensing of anime for the international markets. This is especially the case with net services such as Netflix and Crunchyroll which have large catalogs in Western countries, although as of 2020 anime fans in many developing non-Western countries, such as India and Philippines, have fewer options for obtaining access to legal content, and therefore still turn to online piracy. However beginning with the 2020s anime has been experiencing yet another boom in global popularity and demand due to the COVID-19 pandemic and streaming services like Netflix, Amazon Prime Video, HBO Max, Disney+, Hulu and anime-only services like Crunchyroll and Hidive, increasing the international availability of the amount of new licensed anime shows as well as the size of their catalogs. Netflix reported that, between October 2019 and September 2020, more than 100 million member households worldwide had watched at least one anime title on the platform. Anime titles appeared on the streaming platform's top-ten lists in almost 100 countries within the one-year period. As of 2021, anime series are the most demanded foreign-language television shows in the United States accounting for 30.5% of the market share. (In comparison, Spanish-language and Korean-language shows account for 21% and 11% of the market share, respectively.) In 2021 more than half of Netflix's global members watched anime. In 2022, the anime series Attack on Titan won the award of "Most In-Demand TV Series in the World 2021" in the Global TV Demand Awards. Attack on Titan became the first ever non-English language series to earn the title of "World's Most In-Demand TV Show", previously held by only The Walking Dead and Game of Thrones.
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Anime
| 800 |
Globalization and cultural impact
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Rising interest in anime as well as Japanese video games has led to an increase of university students in the United Kingdom wanting to get a degree in the Japanese language. The word anime alongside other Japanese pop cultural terms like shonen and shojo have been added to the Oxford English Dictionary.
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Anime
| 800 |
Globalization and cultural impact
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Various anime and manga series have influenced Hollywood in the making of numerous famous movies and characters. Hollywood itself has produced live-action adaptations of various anime series such as Ghost in the Shell, Death Note, Dragon Ball Evolution and Cowboy Bebop. However most of these adaptations have been reviewed negatively by both the critics and the audience and have become box-office flops. The main reasons for the unsuccessfulness of Hollywood's adaptions of anime being the often change of plot and characters from the original source material and the limited capabilities a live-action movie or series can do in comparison to an animated counterpart. One particular exception however is Alita: Battle Angel, which has become a moderate commercial success, receiving generally positive reviews from both the critics and the audience for its visual effects and following the source material. The movie grossed $404 million worldwide, making it director Robert Rodriguez's highest-grossing film.
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Anime
| 800 |
Globalization and cultural impact
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Anime and manga alongside many other parts of Japanese pop culture have helped Japan to gain a positive worldwide image and improve its relations with other countries. In 2015, during remarks welcoming Japanese Prime Minister Shinzo Abe to the White House, President Barack Obama thanked Japan for its cultural contributions to the United States by saying:
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Anime
| 800 |
Globalization and cultural impact
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This visit is a celebration of the ties of friendship and family that bind our peoples. I first felt it when I was 6 years old when my mother took me to Japan. I felt it growing up in Hawaii, like communities across our country, home to so many proud Japanese Americans... Today is also a chance for Americans, especially our young people, to say thank you for all the things we love from Japan. Like karate and karaoke. Manga and anime. And, of course, emojis.
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Anime
| 800 |
Globalization and cultural impact
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In July 2020, after the approval of a Chilean government project in which citizens of Chile would be allowed to withdraw up to 10% of their privately held retirement savings, journalist Pamela Jiles celebrated by running through Congress with her arms spread out behind her, imitating the move of many characters of the anime and manga series Naruto. In April 2021, Peruvian politicians Jorge Hugo Romero of the PPC and Milagros Juárez of the UPP cosplayed as anime characters to get the otaku vote.
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Anime
| 800 |
Globalization and cultural impact
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In April 2023, the Japan Business Federation laid out a proposal aiming to spur the economic growth of Japan by further promoting the contents industry abroad, primarily anime, manga and video games, for measures to invite industry experts from abroad to come to Japan to work, and to link with the tourism sector to help foreign fans of manga and anime visit sites across the country associated with particular manga stories. The federation seeks on quadrupling the sales of Japanese content in overseas markets within the upcoming 10 years.
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Anime
| 800 |
Globalization and cultural impact
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A 2018 survey conducted in 20 countries and territories using a sample consisting of 6,600 respondents held by Dentsu revealed that 34% of all surveyed people found excellency in anime and manga more than other Japanese cultural or technological aspects which makes this mass Japanese media the 3rd most liked "Japanese thing", below Japanese cuisine (34.6%) and Japanese robotics (35.1%). The advertisement company views anime as a profitable tool for marketing campaigns in foreign countries due to its popularity and high reception. Anime plays a role in driving tourism to Japan. In surveys held by Statista between 2019 and 2020, 24.2% of tourists from the United States, 7.7% of tourists from China and 6.1% of tourists from South Korea said they were motivated to visit Japan because of Japanese popular culture. In a 2021 survey held by Crunchyroll market research, 94% of Gen-Z's and 73% of the general population said that they are familiar with anime.
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Anime
| 800 |
Globalization and cultural impact
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Anime clubs gave rise to anime conventions in the 1990s with the "anime boom", a period marked by anime's increased global popularity. These conventions are dedicated to anime and manga and include elements like cosplay contests and industry talk panels. Cosplay, a portmanteau of "costume play", is not unique to anime and has become popular in contests and masquerades at anime conventions. Japanese culture and words have entered English usage through the popularity of the medium, including otaku, an unflattering Japanese term commonly used in English to denote an obsessive fan of anime and/or manga. Another word that has arisen describing obsessive fans in the United States is wapanese meaning 'white individuals who want to be Japanese', or later known as weeaboo or weeb, individuals who demonstrate an obsession with Japanese anime subculture, a term that originated from abusive content posted on the website 4chan.org. While originally derogatory, the terms "Otaku" and "Weeb" have been reappropriated by the anime fandom overtime and today are used by some fans to refer to themselves in a comedic and more positive way. Anime enthusiasts have produced fan fiction and fan art, including computer wallpapers and anime music videos (AMVs).
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Anime
| 800 |
Globalization and cultural impact
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Many fans will visit sites depicted in anime, games, manga and other forms of otaku culture, this behavior is known as "Anime pilgrimage".
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Anime
| 800 |
Globalization and cultural impact
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As of the 2020s, many anime fans and followers use social media platforms and other sites like YouTube, Twitch, Fandom, Facebook, Reddit, Discord, Tumblr, 4chan, TikTok and Twitter with online communities and databases such as IMDb, MyAnimeList to discuss anime, manga and track their progress watching respective series as well as using news outlets such as Anime News Network.
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Anime
| 800 |
Globalization and cultural impact
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Due to anime's increased popularity in recent years, a large number of celebrities such as Elon Musk, BTS and Ariana Grande have come out as anime fans.
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Anime
| 800 |
Globalization and cultural impact
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"Japanese animation is so different from what airs here. It's far edgier, more adult and violent."
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Anime
| 800 |
Globalization and cultural impact
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Mike Lazzo of the American Cartoon Network
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Anime
| 800 |
Globalization and cultural impact
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One of the key points that made anime different from a handful of Western cartoons is the potential for visceral content. Once the expectation that the aspects of visual intrigue or animation are just for children is put aside, the audience can realize that themes involving violence, suffering, sexuality, pain, and death can all be storytelling elements utilized in anime just as much as other media.
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Anime
| 800 |
Globalization and cultural impact
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However, as anime itself became increasingly popular, its styling has been inevitably the subject of both satire and serious creative productions. South Park's "Chinpokomon" and "Good Times with Weapons" episodes, Adult Swim's Perfect Hair Forever, and Nickelodeon's Kappa Mikey are examples of Western satirical depictions of Japanese culture and anime, but anime tropes have also been satirized by some anime such as KonoSuba.
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Anime
| 800 |
Globalization and cultural impact
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Traditionally only Japanese works have been considered anime, but some works have sparked debate about blurring the lines between anime and cartoons, such as the American anime-style productions Avatar: The Last Airbender and Avatar: The Legend of Korra. These anime-styled works have become defined as anime-influenced animation, in an attempt to classify all anime styled works of non-Japanese origin. Some creators of these works cite anime as a source of inspiration, for example the French production team for Ōban Star-Racers that moved to Tokyo to collaborate with a Japanese production team. When anime is defined as a "style" rather than as a national product, it leaves open the possibility of anime being produced in other countries, but this has been contentious amongst fans, with John Oppliger stating, "The insistence on referring to original American art as Japanese "anime" or "manga" robs the work of its cultural identity."
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Anime
| 800 |
Globalization and cultural impact
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A U.A.E.-Filipino produced TV series called Torkaizer is dubbed as the "Middle East's First Anime Show", and is currently in production and looking for funding. Netflix has produced multiple anime series in collaboration with Japanese animation studios, and in doing so, has offered a more accessible channel for distribution to Western markets.
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Anime
| 800 |
Globalization and cultural impact
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The web-based series RWBY, produced by Texas-based company Rooster Teeth, is produced using an anime art style, and the series has been described as "anime" by multiple sources. For example, Adweek, in the headline to one of its articles, described the series as "American-made anime", and in another headline, The Huffington Post described it as simply "anime", without referencing its country of origin. In 2013, Monty Oum, the creator of RWBY, said "Some believe just like Scotch needs to be made in Scotland, an American company can't make anime. I think that's a narrow way of seeing it. Anime is an art form, and to say only one country can make this art is wrong." RWBY has been released in Japan with a Japanese language dub; the CEO of Rooster Teeth, Matt Hullum, commented "This is the first time any American-made anime has been marketed to Japan. It definitely usually works the other way around, and we're really pleased about that."
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Anime
| 800 |
Globalization and cultural impact
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In Japanese culture and entertainment, media mix is a strategy to disperse content across multiple representations: different broadcast media, gaming technologies, cell phones, toys, amusement parks, and other methods. It is the Japanese term for a transmedia franchise. The term gained its circulation in late 1980s, but the origins of the strategy can be traced back to the 1960s with the proliferation of anime, with its interconnection of media and commodity goods.
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Anime
| 800 |
Globalization and cultural impact
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A number of anime and manga media franchises such as Demon Slayer: Kimetsu no Yaiba, Dragon Ball and Gundam have gained considerable global popularity, and are among the world's highest-grossing media franchises. Pokémon in particular is estimated to be the highest-grossing media franchise of all time.
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Asterism
| 801 |
Asterism may refer to:
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Ankara
| 802 |
Ankara (/ˈæŋkərə/ ANG-kər-ə, US also /ˈɑːŋ-/ AHNG-kər-ə; Turkish: [ˈaŋkaɾa] ), historically known as Ancyra and Angora, is the capital of Turkey. Located in the central part of Anatolia, the city has a population of 5.1 million in its urban center and 5.7 million in Ankara Province, making it Turkey's second-largest city after Istanbul, but first by the urban area (2,767 km).
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Ankara
| 802 |
Serving as the capital of the ancient Celtic state of Galatia (280–64 BC), and later of the Roman province with the same name (25 BC–7th century), the city is very old, with various Hattian, Hittite, Lydian, Phrygian, Galatian, Greek, Persian, Roman, Byzantine, and Ottoman archeological sites. The Ottomans made the city the capital first of the Anatolia Eyalet (1393 – late 15th century) and then the Angora Eyalet (1827–1864) and the Angora Vilayet (1867–1922). The historical center of Ankara is a rocky hill rising 150 m (500 ft) over the left bank of the Ankara River, a tributary of the Sakarya River. The hill remains crowned by the ruins of Ankara Castle. Although few of its outworks have survived, there are well-preserved examples of Roman and Ottoman architecture throughout the city, the most remarkable being the 20 BC Temple of Augustus and Rome that boasts the Monumentum Ancyranum, the inscription recording the Res Gestae Divi Augusti.
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Ankara
| 802 |
On 23 April 1920, the Grand National Assembly of Turkey was established in Ankara, which became the headquarters of the Turkish National Movement during the Turkish War of Independence. Ankara became the new Turkish capital upon the establishment of the Republic on 29 October 1923, succeeding in this role as the former Turkish capital Istanbul following the fall of the Ottoman Empire. The government is a prominent employer, but Ankara is also an important commercial and industrial city located at the center of Turkey's road and railway networks. The city gave its name to the Angora wool shorn from Angora rabbits, the long-haired Angora goat (the source of mohair), and the Angora cat. The area is also known for its pears, honey and Muscat grapes. Although situated in one of the driest regions of Turkey and surrounded mostly by steppe vegetation (except for the forested areas on the southern periphery), Ankara can be considered a green city in terms of green areas per inhabitant, at 72 square meters (775 square feet) per head.
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Ankara
| 802 |
Etymology
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The orthography of the name Ankara has varied over the ages. It has been identified with the Hittite cult center Ankuwaš, although this remains a matter of debate. In classical antiquity and during the medieval period, the city was known as Ánkyra (Ἄγκυρα, lit "anchor") in Greek and Ancyra in Latin; the Galatian Celtic name was probably a similar variant. Following its annexation by the Seljuk Turks in 1073, the city became known in many European languages as Angora; it was also known in Ottoman Turkish as Engürü. The form "Angora" is preserved in the names of breeds of many different kinds of animals, and in the names of several locations in the US (see Angora).
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Ankara
| 802 |
History
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The region's history can be traced back to the Bronze Age Hattic civilization, which was succeeded in the 2nd millennium BC by the Hittites, in the 10th century BC by the Phrygians, and later by the Lydians, Persians, Greeks, Galatians, Romans, Byzantines, and Turks (the Seljuk Sultanate of Rûm, the Ottoman Empire and finally republican Turkey).
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Ankara
| 802 |
History
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The oldest settlements in and around the city center of Ankara belonged to the Hattic civilization which existed during the Bronze Age and was gradually absorbed c. 2000 – 1700 BC by the Indo-European Hittites. The city grew significantly in size and importance under the Phrygians starting around 1000 BC, and experienced a large expansion following the mass migration from Gordion, (the capital of Phrygia), after an earthquake which severely damaged that city around that time. In Phrygian tradition, King Midas was venerated as the founder of Ancyra, but Pausanias mentions that the city was actually far older, which accords with present archeological knowledge.
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Ankara
| 802 |
History
|
Phrygian rule was succeeded first by Lydian and later by Persian rule, though the strongly Phrygian character of the peasantry remained, as evidenced by the gravestones of the much later Roman period. Persian sovereignty lasted until the Persians' defeat at the hands of Alexander the Great who conquered the city in 333 BC. Alexander came from Gordion to Ankara and stayed in the city for a short period. After his death at Babylon in 323 BC and the subsequent division of his empire among his generals, Ankara, and its environs fell into the share of Antigonus.
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Ankara
| 802 |
History
|
Another important expansion took place under the Greeks of Pontos who came there around 300 BC and developed the city as a trading center for the commerce of goods between the Black Sea ports and Crimea to the north; Assyria, Cyprus, and Lebanon to the south; and Georgia, Armenia and Persia to the east. By that time the city also took its name Ἄγκυρα (Ánkyra, meaning anchor in Greek) which, in slightly modified form, provides the modern name of Ankara.
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Ankara
| 802 |
History
|
In 278 BC, the city, along with the rest of central Anatolia, was occupied by a Celtic group, the Galatians, who were the first to make Ankara one of their main tribal centers, the headquarters of the Tectosages tribe. Other centers were Pessinus, today's Ballıhisar, for the Trocmi tribe, and Tavium, to the east of Ankara, for the Tolistobogii tribe. The city was then known as Ancyra. The Celtic element was probably relatively small in numbers; a warrior aristocracy which ruled over Phrygian-speaking peasants. However, the Celtic language continued to be spoken in Galatia for many centuries. At the end of the 4th century, St. Jerome, a native of Dalmatia, observed that the language spoken around Ankara was very similar to that being spoken in the northwest of the Roman world near Trier.
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Ankara
| 802 |
History
|
The city was subsequently passed under the control of the Roman Empire. In 25 BC, Emperor Augustus raised it to the status of a polis and made it the capital city of the Roman province of Galatia. Ankara is famous for the Monumentum Ancyranum (Temple of Augustus and Rome) which contains the official record of the Acts of Augustus, known as the Res Gestae Divi Augusti, an inscription cut in marble on the walls of this temple. The ruins of Ancyra still furnish today valuable bas-reliefs, inscriptions and other architectural fragments. Two other Galatian tribal centers, Tavium near Yozgat, and Pessinus (Balhisar) to the west, near Sivrihisar, continued to be reasonably important settlements in the Roman period, but it was Ancyra that grew into a grand metropolis.
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Ankara
| 802 |
History
|
An estimated 200,000 people lived in Ancyra in good times during the Roman Empire, a far greater number than was to be the case from after the fall of the Roman Empire until the early 20th century. The small Ankara River ran through the center of the Roman town. It has now been covered and diverted, but it formed the northern boundary of the old town during the Roman, Byzantine and Ottoman periods. Çankaya, the rim of the majestic hill to the south of the present city center, stood well outside the Roman city, but may have been a summer resort. In the 19th century, the remains of at least one Roman villa or large house were still standing not far from where the Çankaya Presidential Residence stands today. To the west, the Roman city extended until the area of the Gençlik Park and Railway Station, while on the southern side of the hill, it may have extended downward as far as the site presently occupied by Hacettepe University. It was thus a sizeable city by any standards and much larger than the Roman towns of Gaul or Britannia.
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Ankara
| 802 |
History
|
Ancyra's importance rested on the fact that it was the junction point where the roads in northern Anatolia running north–south and east–west intersected, giving it major strategic importance for Rome's eastern frontier. The great imperial road running east passed through Ankara and a succession of emperors and their armies came this way. They were not the only ones to use the Roman highway network, which was equally convenient for invaders. In the second half of the 3rd century, Ancyra was invaded in rapid succession by the Goths coming from the west (who rode far into the heart of Cappadocia, taking slaves and pillaging) and later by the Arabs. For about a decade, the town was one of the western outposts of one of Palmyrean empress Zenobia in the Syrian Desert, who took advantage of a period of weakness and disorder in the Roman Empire to set up a short-lived state of her own.
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Ankara
| 802 |
History
|
The town was reincorporated into the Roman Empire under Emperor Aurelian in 272. The tetrarchy, a system of multiple (up to four) emperors introduced by Diocletian (284–305), seems to have engaged in a substantial program of rebuilding and of road construction from Ancyra westwards to Germe and Dorylaeum (now Eskişehir).
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Ankara
| 802 |
History
|
In its heyday, Roman Ancyra was a large market and trading center but it also functioned as a major administrative capital, where a high official ruled from the city's Praetorium, a large administrative palace or office. During the 3rd century, life in Ancyra, as in other Anatolian towns, seems to have become somewhat militarized in response to the invasions and instability of the town.
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Ankara
| 802 |
History
|
The city is well known during the 4th century as a center of Christian activity (see also below), due to frequent imperial visits, and through the letters of the pagan scholar Libanius. Bishop Marcellus of Ancyra and Basil of Ancyra were active in the theological controversies of their day, and the city was the site of no fewer than three church synods in 314, 358 and 375, the latter two in favor of Arianism.
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Ankara
| 802 |
History
|
The city was visited by Emperor Constans I (r. 337–350) in 347 and 350, Julian (r. 361–363) during his Persian campaign in 362, and Julian's successor Jovian (r. 363–364) in winter 363/364 (he entered his consulship while in the city). After Jovian's death soon after, Valentinian I (r. 364–375) was acclaimed emperor at Ancyra, and in the next year his brother Valens (r. 364–378) used Ancyra as his base against the usurper Procopius. When the province of Galatia was divided sometime in 396/99, Ancyra remained the civil capital of Galatia I, as well as its ecclesiastical center (metropolitan see). Emperor Arcadius (r. 383–408) frequently used the city as his summer residence, and some information about the ecclesiastical affairs of the city during the early 5th century is found in the works of Palladius of Galatia and Nilus of Ancyra.
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Ankara
| 802 |
History
|
In 479, the rebel Marcian attacked the city, without being able to capture it. In 610/11, Comentiolus, brother of Emperor Phocas (r. 602–610), launched his own unsuccessful rebellion in the city against Heraclius (r. 610–641). Ten years later, in 620 or more likely 622, it was captured by the Sassanid Persians during the Byzantine–Sassanid War of 602–628. Although the city returned to Byzantine hands after the end of the war, the Persian presence left traces in the city's archeology, and likely began the process of its transformation from a late antique city to a medieval fortified settlement.
|
Ankara
| 802 |
History
|
In 654, the city, also known in Arabic sources as Qalat as-Salasil ("fortress of the chains"), was captured for the first time by the Arabs of the Rashidun Caliphate, under Muawiyah, the future founder of the Umayyad Caliphate. At about the same time, the themes were established in Anatolia, and Ancyra became capital of the Opsician Theme, which was the largest and most important theme until it was split up under Emperor Constantine V (r. 741–775); Ancyra then became the capital of the new Bucellarian Theme. The city was captured at least temporarily by the Umayyad prince Maslama ibn Hisham in 739/40, the last of the Umayyads' territorial gains from the Byzantine Empire. Ancyra was attacked without success by Abbasid forces in 776 and in 798/99. In 805, Emperor Nikephoros I (r. 802–811) strengthened its fortifications, a fact which probably saved it from sack during the large-scale invasion of Anatolia by Caliph Harun al-Rashid in the next year. Arab sources report that Harun and his successor al-Ma'mun (r. 813–833) took the city, but this information is later invention. In 838, however, during the Amorium campaign, the armies of Caliph al-Mu'tasim (r. 833–842) converged and met at the city; abandoned by its inhabitants, Ancara was razed to the ground, before the Arab armies went on to besiege and destroy Amorium reaching as far as Smyrna. In 859, Emperor Michael III (r. 842–867) came to the city during a campaign against the Arabs, and ordered its fortifications restored. In 872, the city was menaced, but not taken, by the Paulicians under Chrysocheir. The last Arab raid to reach the city was undertaken in 931, by the Abbasid governor of Tarsus, Thamal al-Dulafi, but the city again was not captured.
|
Ankara
| 802 |
History
|
Early Christian martyrs of Ancyra, about whom little is known, included Proklos and Hilarios who were natives of the otherwise unknown nearby village of Kallippi, and suffered repression under the emperor Trajan (98–117). In the 280s we hear of Philumenos, a Christian corn merchant from southern Anatolia, being captured and martyred in Ankara, and Eustathius.
|
Ankara
| 802 |
History
|
As in other Roman towns, the reign of Diocletian marked the culmination of the persecution of the Christians. In 303, Ancyra was one of the towns where the co-emperors Diocletian and his deputy Galerius launched their anti-Christian persecution. In Ancyra, their first target was the 38-year-old Bishop of the town, whose name was Clement. Clement's life describes how he was taken to Rome, then sent back, and forced to undergo many interrogations and hardship before he, and his brother, and various companions were put to death. The remains of the church of St. Clement can be found today in a building just off Işıklar Caddesi in the Ulus district. Quite possibly this marks the site where Clement was originally buried. Four years later, a doctor of the town named Plato and his brother Antiochus also became celebrated martyrs under Galerius. Theodotus of Ancyra is also venerated as a saint.
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Ankara
| 802 |
History
|
However, the persecution proved unsuccessful and in 314 Ancyra was the center of an important council of the early church; its 25 disciplinary canons constitute one of the most important documents in the early history of the administration of the Sacrament of Penance. The synod also considered ecclesiastical policy for the reconstruction of the Christian Church after the persecutions, and in particular the treatment of lapsi—Christians who had given in to forced paganism (sacrifices) to avoid martyrdom during these persecutions.
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Ankara
| 802 |
History
|
Though paganism was probably tottering in Ancyra in Clement's day, it may still have been the majority religion. Twenty years later, Christianity and monotheism had taken its place. Ancyra quickly turned into a Christian city, with a life dominated by monks and priests and theological disputes. The town council or senate gave way to the bishop as the main local figurehead. During the middle of the 4th century, Ancyra was involved in the complex theological disputes over the nature of Christ, and a form of Arianism seems to have originated there.
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Ankara
| 802 |
History
|
In 362–363, Emperor Julian passed through Ancyra on his way to an ill-fated campaign against the Persians, and according to Christian sources, engaged in a persecution of various holy men. The stone base for a statue, with an inscription describing Julian as "Lord of the whole world from the British Ocean to the barbarian nations", can still be seen, built into the eastern side of the inner circuit of the walls of Ankara Castle. The Column of Julian which was erected in honor of the emperor's visit to the city in 362 still stands today. In 375, Arian bishops met at Ancyra and deposed several bishops, among them St. Gregory of Nyssa.
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Ankara
| 802 |
History
|
In the late 4th century, Ancyra became something of an imperial holiday resort. After Constantinople became the East Roman capital, emperors in the 4th and 5th centuries would retire from the humid summer weather on the Bosporus to the drier mountain atmosphere of Ancyra. Theodosius II (408–450) kept his court in Ancyra in the summers. Laws issued in Ancyra testify to the time they spent there.
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Ankara
| 802 |
History
|
The Metropolis of Ancyra continued to be a residential see of the Eastern Orthodox Church until the 20th century, with about 40,000 faithful, mostly Turkish-speaking, but that situation ended as a result of the 1923 Convention Concerning the Exchange of Greek and Turkish Populations. The earlier Armenian genocide put an end to the residential eparchy of Ancyra of the Armenian Catholic Church, which had been established in 1850. It is also a titular metropolis of the Ecumenical Patriarchate of Constantinople.
|
Ankara
| 802 |
History
|
Both the Ancient Byzantine Metropolitan archbishopric and the 'modern' Armenian eparchy are now listed by the Catholic Church as titular sees, with separate apostolic successions.
|
Ankara
| 802 |
History
|
After the Battle of Manzikert in 1071, the Seljuk Turks overran much of Anatolia. By 1073, the Turkish settlers had reached the vicinity of Ancyra, and the city was captured shortly after, at the latest by the time of the rebellion of Nikephoros Melissenos in 1081. In 1101, when the Crusade under Raymond IV of Toulouse arrived, the city had been under Danishmend control for some time. The Crusaders captured the city, and handed it over to the Byzantine emperor Alexios I Komnenos (r. 1081–1118). Byzantine rule did not last long, and the city was captured by the Seljuk Sultanate of Rum at some unknown point; in 1127, it returned to Danishmend control until 1143, when the Seljuks of Rum retook it.
|
Ankara
| 802 |
History
|
After the Battle of Köse Dağ in 1243, in which the Mongols defeated the Seljuks, most of Anatolia became part of the dominion of the Mongols. Taking advantage of Seljuk decline, a semi-religious cast of craftsmen and trade people named Ahiler chose Angora as their independent city-state in 1290. Orhan, the second Bey of the Ottoman Empire, captured the city in 1356. Timur defeated Bayezid I at the Battle of Ankara in 1402 and took the city, but in 1403 Angora was again under Ottoman control.
|
Ankara
| 802 |
History
|
The Levant Company maintained a factory in the town from 1639 to 1768. In the 19th century, its population was estimated at 20,000 to 60,000. It was sacked by Egyptians under Ibrahim Pasha in 1832.
|
Ankara
| 802 |
History
|
From 1867 to 1922, the city served as the capital of the Angora Vilayet, which included most of ancient Galatia.
|
Ankara
| 802 |
History
|
Prior to World War I, the town had a British consulate and a population of around 28,000, roughly 1⁄3 of whom were Christian.
|
Ankara
| 802 |
History
|
Following the Ottoman defeat in World War I, the Ottoman capital Constantinople (modern Istanbul) and much of Anatolia was occupied by the Allies, who planned to share these lands between Armenia, France, Greece, Italy and the United Kingdom, leaving for the Turks the core piece of land in central Anatolia. In response, the leader of the Turkish nationalist movement, Mustafa Kemal Atatürk, established the headquarters of his resistance movement in Angora in 1920. After the Turkish War of Independence was won and the Treaty of Sèvres was superseded by the Treaty of Lausanne (1923), the Turkish nationalists replaced the Ottoman Empire with the Republic of Turkey on 29 October 1923. A few days earlier, Angora had officially replaced Constantinople as the new Turkish capital city, on 13 October 1923, and Republican officials declared that the city's name is Ankara.
|
Ankara
| 802 |
History
|
After Ankara became the capital of the newly founded Republic of Turkey, new development divided the city into an old section, called Ulus, and a new section, called Yenişehir. Ancient buildings reflecting Roman, Byzantine, and Ottoman history and narrow winding streets mark the old section. The new section, now centered on Kızılay Square, has the trappings of a more modern city: wide streets, hotels, theaters, shopping malls, and high-rises.
|
Ankara
| 802 |
History
|
Government offices and foreign embassies are also located in the new section. Ankara has experienced a phenomenal growth since it was made Turkey's capital in 1923, when it was "a small town of no importance". In 1924, the year after the government had moved there, Ankara had about 35,000 residents. By 1927 there were 44,553 residents and by 1950 the population had grown to 286,781. After 1930, the city officially became known in Western languages as Ankara. By the late 1930s, the English name "Angora" was no longer in popular use.
|
Ankara
| 802 |
History
|
Ankara continued to grow rapidly during the latter half of the 20th century and eventually outranked Izmir as Turkey's second-largest city, after Istanbul. Ankara's urban population reached 4,587,558 in 2014, while the population of Ankara Province reached 5,150,072 in 2015.
|
Ankara
| 802 |
History
|
The Presidential Palace of Turkey is situated in Ankara. This building serves as the main residence of the president.
|
Ankara
| 802 |
Geography
|
Geographically, Ankara is located in the middle of the Kızılırmak and Sakarya rivers, and the Sakarya River forms its border with Eskişehir in the west. Ankara shares its borders with Bolu and Çankırı in the north; Konya in the south and Kırıkkale in the east.
|
Ankara
| 802 |
Geography
|
Ankara and its province are located in the Central Anatolia Region of Turkey. The Çubuk Brook flows through the city center of Ankara. It is connected in the western suburbs of the city to the Ankara River, which is a tributary of the Sakarya River.
|
Ankara
| 802 |
Geography
|
Ankara has a cold semi-arid climate (Köppen climate classification: BSk). Under the Trewartha climate classification, Ankara has a temperate humid continental climate (Dc). Due to its elevation and inland location, Ankara has cold and snowy winters, and hot and dry summers. Rainfall occurs mostly during the spring and autumn. The city lies in USDA Hardiness zone 7b, and its annual average precipitation is fairly low at 414 millimeters (16 in), nevertheless precipitation can be observed throughout the year. Monthly mean temperatures range from 0.9 °C (33.6 °F) in January to 24.3 °C (75.7 °F) in July, with an annual mean of 12.6 °C (54.7 °F).
|
Ankara
| 802 |
Demographics
|
Ankara had a population of 75,000 in 1927. As of 2019, the population of the Ankara Province was 5,639,076. When Ankara became the capital of the Republic of Turkey in 1923, it was designated as a planned city for 500,000 future inhabitants. During the 1920s, 1930s and 1940s, the city grew in a planned and orderly pace. However, from the 1950s onward, the city grew much faster than envisioned, because unemployment and poverty forced people to migrate from the countryside into the city to seek a better standard of living. As a result, many illegal houses called gecekondu were built around the city, causing the unplanned and uncontrolled urban landscape of Ankara, as not enough planned housing could be built fast enough. Although precariously built, the vast majority of them have electricity, running water and modern household amenities.
|
Ankara
| 802 |
Demographics
|
Nevertheless, many of these gecekondus have been replaced by huge public housing projects in the form of tower blocks such as Elvankent, Eryaman and Güzelkent; and also as mass housing compounds for military and civil service accommodation. Although many gecekondus still remain, they too are gradually being replaced by mass housing compounds, as empty land plots in the city of Ankara for new construction projects are becoming impossible to find.
|
Ankara
| 802 |
Demographics
|
Çorum and Yozgat, which are located in Central Anatolia and whose population is decreasing, are the provinces with the highest net migration to Ankara. About one third of the Central Anatolia population of 15,608,868 people resides in Ankara.
|
Ankara
| 802 |
Demographics
|
The literacy rate in the whole province for people who are 15 years old or older is 98.18% according to 2020 TÜİK data. Ankara Province also has the highest percentage of tertiary education graduates in Turkey with 29.08% of the population having either an undergraduate, master's or doctor's degree.
|
Ankara
| 802 |
Economy and infrastructure
|
Ankara has long been a productive agricultural region in Anatolia. In the Ottoman period, Ankara was well known for producing grain, cotton, and fruits.
|
Ankara
| 802 |
Economy and infrastructure
|
The city has exported mohair (from the Angora goat) and Angora wool (from the Angora rabbit) internationally for centuries. In the 19th century, the city also exported substantial amounts of goat and cat skins, gum, wax, honey, berries, and madder root. It was connected to Istanbul by railway before the First World War, continuing to export mohair, wool, berries, and grain.
|
Ankara
| 802 |
Economy and infrastructure
|
The Central Anatolia Region is one of the primary locations of grape and wine production in Turkey, and Ankara is particularly famous for its Kalecik Karası and Muscat grapes; and its Kavaklıdere wine, which is produced in the Kavaklıdere neighborhood within the Çankaya district of the city. Ankara is also famous for its pears. Another renowned natural product of Ankara is its indigenous type of honey (Ankara Balı) which is known for its light color and is mostly produced by the Atatürk Forest Farm and Zoo in the Gazi district, and by other facilities in the Elmadağ, Çubuk and Beypazarı districts. Çubuk-1 and Çubuk-2 dams on the Çubuk Brook in Ankara were among the first dams constructed in the Turkish Republic.
|
Ankara
| 802 |
Economy and infrastructure
|
Ankara is the center of the state-owned and private Turkish defence and aerospace companies, where the industrial plants and headquarters of the Turkish Aerospace Industries, MKE, ASELSAN, HAVELSAN, ROKETSAN, FNSS, Nurol Makina, and numerous other firms are located. Exports to foreign countries from these defense and aerospace firms have steadily increased in the past decades. The IDEF in Ankara is one of the largest international expositions of the global arms industry. A number of the global automotive companies also have production facilities in Ankara, such as the German bus and truck manufacturer MAN SE. Ankara hosts the OSTIM Industrial Zone, Turkey's largest industrial park.
|
Ankara
| 802 |
Economy and infrastructure
|
A large percentage of the complicated employment in Ankara is provided by the state institutions; such as the ministries, subministries, and other administrative bodies of the Turkish government. There are also many foreign citizens working as diplomats or clerks in the embassies of their respective countries.
|
Ankara
| 802 |
Transportation
|
The Electricity, Gas, Bus General Directorate (EGO) operates the Ankara Metro and other forms of public transportation. Ankara is served by a suburban rail named Ankaray (A1) and three subway lines (M1, M2, M3) of the Ankara Metro with about 300,000 total daily commuters, while an additional subway line (M4) is under construction. A 3.2 km (2.0 mi) long gondola lift with four stations connects the district of Şentepe to the Yenimahalle metro station.
|
Ankara
| 802 |
Transportation
|
The Ankara Central Station is a major rail hub in Turkey. The Turkish State Railways operates passenger train service from Ankara to other major cities, such as: Istanbul, Eskişehir, Balıkesir, Kütahya, İzmir, Kayseri, Adana, Kars, Elazığ, Malatya, Diyarbakır, Karabük, Zonguldak and Sivas. Commuter rail also runs between the stations of Sincan and Kayaş. On 13 March 2009, the new Yüksek Hızlı Tren (YHT) high-speed rail service began operation between Ankara and Eskişehir. On 23 August 2011, another YHT high-speed line commercially started its service between Ankara and Konya. On 25 July 2014, the Ankara–Istanbul high-speed line of YHT entered service.
|
Ankara
| 802 |
Transportation
|
Esenboğa International Airport, located in the north-east of the city, is Ankara's main airport.
|
Ankara
| 802 |
Transportation
|
The average amount of time people spend commuting on public transit in Ankara on a weekday is 71 minutes. 17% of public transit passengers, ride for more than two hours every day. The average amount of time people wait at a stop or station for public transit is sixteen minutes, while 28% of users wait for over twenty minutes on average every day. The average distance people usually ride in a single trip with public transit is 9.9 km (6.2 mi), while 27% travel for over 12 km (7.5 mi) in a single direction.
|
Ankara
| 802 |
Politics
|
Since 8 April 2019, the Mayor of Ankara is Mansur Yavaş from the Republican People's Party (CHP), who won the mayoral election in 2019.
|
Ankara
| 802 |
Politics
|
Ankara is politically a triple battleground between the ruling conservative AK Party, the opposition Kemalist center-left Republican People's Party (CHP) and the nationalist far-right MHP. The province of Ankara is divided into 25 districts. The CHP's key and almost only political stronghold in Ankara lies within the central area of Çankaya, which is the city's most populous district. While the CHP has always gained between 60 and 70% of the vote in Çankaya since 2002, political support elsewhere throughout Ankara is minimal. The high population within Çankaya, as well as Yenimahalle to an extent, has allowed the CHP to take overall second place behind the AK Party in both local and general elections, with the MHP a close third, despite the fact that the MHP is politically stronger than the CHP in almost every other district. Overall, the AK Party enjoys the most support throughout the city. The electorate of Ankara thus tend to vote in favor of the political right, far more so than the other main cities of Istanbul and İzmir. In retrospect, the 2013–14 protests against the AK Party government were particularly strong in Ankara, proving to be fatal on multiple occasions.
|
Ankara
| 802 |
Politics
|
The city suffered from a series of terrorist attacks in 2015 and 2016, most notably on 10 October 2015; 17 February 2016; 13 March 2016; and 15 July 2016.
|
Ankara
| 802 |
Politics
|
Melih Gökçek was the Metropolitan Mayor of Ankara between 1994 and 2017. Initially elected in the 1994 local elections, he was re-elected in 1999, 2004 and 2009. In the 2014 local elections, Gökçek stood for a fifth term. The MHP's metropolitan mayoral candidate for the 2009 local elections, Mansur Yavaş, stood as the CHP's candidate against Gökçek in 2014. In a heavily controversial election, Gökçek was declared the winner by just 1% ahead of Yavaş amid allegations of systematic electoral fraud. With the Supreme Electoral Council and courts rejecting his appeals, Yavaş declared his intention to take the irregularities to the European Court of Human Rights. Although Gökçek was inaugurated for a fifth term, most election observers believe that Yavaş was the winner of the election. Gökçek resigned on 28 October 2017 and was replaced by the former mayor of Sincan district, Mustafa Tuna; who was succeeded by Mansur Yavaş of the CHP, the current Mayor of Ankara, elected in 2019.
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