01:14 (01:14 partial) / We see the paper tree decompose into part as we see the pages of the tree fly out towards audience. We get to see the content of some of these pages (classical illustrations of brids and the simurg).

The same wind that has decomposed the paper tree emptying the screen brings 4 or 5 different colour feathers leaving one of them in the middle of the screen.

02:00 (02:00 partial) / The feather blends into de ciclorama feathers bleaching out its colour and therefore desapearing.

A pattern of crowns of truth starts to appear on screen to start a coreagraphy/ballet becoming the perfect background for Hoopoe’s first speach to the birds.

02:39 (02:39 partial) / This crown pattern serves as mask to a geometrical lanscape creation that beats at the pace of our birds audience hearts. 

03:47 (03:47 partial) / Huge birds silhouettes appear on screen filled with images of the birds fears (Nithingale & Roses, Parrot & Feathers, Eagle & Landscape, Owl & Ruins, Heron & Lake, Budgie & Life Elixir) and finally the Love bird & with several images that correspond to his speach as they get darker and stronger according to Hoopoe’s anger. 

05:22 (00:00 partial) / We see a landscape where thousands of horseman travel towards the horizon. We also see a flock of birds flying over them. At some point we see the birds flying down towards the horsemen to finally morph into the crowd. We end up at a ground level overwhelmed by an infinite forrest of horse legs.

06:05 (00:43 partial) / As the prior scene vanishes, we start seeing a red line that travels from left to right. It’s a representation of the journey by the horsemen of Selçuklu. A flock of silhouted birds will accompany the red line as big vanishing images of monuments will show in the background.

To finish this journey, the red line will end up with a background washed out full screen image of the Edebali lodge.

07:07 (01:50 partial) / A painting like illustration starts to follow the narration of Osman Bey’s dream. We first see a crescent coming out of Seyh Edebali’s chest as it keeps growing to become a full moon, re-entering  his chest and coming out again full filling his body with a bursting shine of light. Inmediately after a tree starts to grow also from his chest. The tree becomes bigger and bigger as it start to grow leafs becoming a beautifull inmense tree with great branches that start to embrace everything. First the house, then the entire town (as we see people gather under it). It keeps growing bigger as rivers grow from the roots in which big boats start to travel. And finally, the tree embraces the entire planet earth in a starry night surrounding that stays on screen (with shooting stars every once in a while) during Seyh Edebali’s interpretation of the dream.

08:14 (02:57 partial) / As a “rain” of different size Tabl, Alem and Tug start to fall from the sky, the background moves from dark to white (dancers will come to stage with 3 real versions of these icons to hang them on the tree)

08:33 (03:16 partial) / To illustrate Fatih Sultan Mehmet conquest of Istambul we will use stock photographs of the History Museum of Istambul paintings where we will animate certain elements (like bombs/fire, flags, etc.). These images fade out as the dancers enter the stage.

09:23 (04:06 partial) to 10:29 (04:49 partial) While dancers are on stage the screen will remain empty.

10:29 (04:49 partial) / A reproduction of imperial pledge (Mehmed II's ahidnâme to the Catholic monks of the recently conquered Bosnia issued in 1463) will scroll up on screen. The last sentence, “Be know as such!” will be highlighted growing in size and fading out.

11:26 (05:46 partial) / End of 1st valley 

13:08 (00:00 partial) / We open on an empty railroad. It’s an endless travel through the rails of a train to nowhere. We see birds through a double image postproduction effect.

As the video scene fades out we start seeing dozens of different size suitcases, compasses and packages (3D ) falling from the sky. It’s the introduction to the dancers performance.

15:36 (02:28 partial) / We return to the double image postproduction effect but this time the background is an image of sea waves with seagulls flying over it. Screen fades to black (we’re entering the blindness of Yackup).

Black out for applause

16:49 (03:05 partial) / On the black screen we see a big tear falling and as it “touches the screen” (just as if it was a drop of ink) the tear starts to unveil new images of roads similar to the railraod but this time they’re walking roads, sand paths that finish always in a home. It’s a representation of the homeland concept.

20:27 (06:43 partial) / The image before is covered by a slowly waving white fabric (3D). It’s a metaphore of a white flag, of the homeland. And the perfect background for the “azeri kadin kostum” dance.

22:30 (08:46 partial) / As we pull the white flag up, we discover a flock of birds that fly out frightened by the scream coming from Kirkuk military post (22:22 partial 09:01).

22:30 (09:09 partial) / We end this valley with a flight from the brids perspective (3D) over the sky towards the horizon.

25:47 (00:00 partial) / The prior flying sky scene serves as transition to this new valley. Roses and ribbons (3D) start falling from the sky as dancers enter the stage and interact with the public.

28:29 (01:42 partial) / As the ribbons keep falling we start to see an incredible green landscape. The prop tree is on stage. There’s also a little river. It’s where the elixir of life flows from.

32:45 (04:16 partial) / As the the dances flow on stage the light starts dimming out. The sun is setting. At this point we start seeing wish lanterns (3D) rise to the sky. The perfect environment to step into the next valley.

The audiovisual treatment of this valley needs to be differentiated from the rest. The dancers protagonism on the narration of this valley aims a different goal and so should the audiovisual. That’s why we will maintain one only language throught it all. 

32:11 (00:00 partial) / The end scene of the prior valley will perfectly blend with the beginning of this valley (dancers with yelow drums). Full height screen reproductions of all the famous war images (seyit onbaşı carrying the canon bullet, bullets hitting to each other, letters from soldiers, etc.) will be subtly unveiled one by one as in a giant slideshow. No animation except for an elegant coreography on the pace of appearance. The images will be treated as works of art projected in a museum wall during the dancers performance. In between images we will handwrite on the screen excerpts from the soldiers letters. In and out, the birds on screen will enter and flow from the images and handwritings. 

38:11 (06:00 partial) / To finish this theatrical background scene we will display some images of Mustafa Kemal Attaturk and his signature.

38:11 (00:00 partial) / As we enter this 5th valley, the dancers will appear on stage carrying scent. On screen a simple and elegant composition of burning candles will follow the dancers entrance. The candles will burn slowly while the dancers distribute scent to the audience. 

39:01 (00:50 partial) / Once the candles are almost consumed, and matching the dervishes performance, the candles will becomes dervishes themselves. Dozens of whirling dervishes that will accompany the real whirling dervishes on stage. Finally after 3,5 minutes of dervishes dance each one of the dervishes on screen will disappear becoming as many floc of birds as there are dervishes on screen.

42:33 (04:22 partial) / 10 seconds pause for the dervishes to salute the audience and leave the stage.

42:43 (04:32 partial) / A few seconds after the dervishes leave the stage a floc of birds appears on screen. They’re black slihouttes of birds and they perform am amazing flight from one side of the screen to the other. Just like a starling floc.

42:43 (05:52 partial) / As the brids desappear we start to seeing an amazing nebula of dark stars that fill the screen. It’s like a travel through the human mind that will take the audience through the invocation as 4 male dancers perform on stage.

45:36 (08:45 partial) / The fantastical nebula ends up containing itself in the center of the screen, as we start building a caleidoscopic pattern based on the female semah dancers. This pattern will perform a beautiful colours and shapes whirling coreography that will remain until the end of this valley as the semah dancers perform on stage. 

48:24 (00:00 partial) / We’re entering the 6th valley. Anatolia today. On screen we see a timelapse of different kinds of flowers growing as a flock of birds crosses the screen from left to right. After the flowers end their blossom they will become the video mask through which we start seeing 3D baglamas, the string instrument with which Asik Veysel became a virtuoso. The baglamas turn 360º around themselves.

51:47 (03:23 partial) / As we hear the flute music opening we also see how the baglamas are replaced by flutes on screen. We’re going to see the reverse process to illustrate Hoopoe’s narration on Feqiyê Teyran. But this time, to underlining Feqiyê’s gift to communicate with birds, we will add a 3D humming bird.

52:56 (04:32 partial) / As the scene continues and the female dancers perform their mourning dance to share the death of Feqiyê Teyran, the flowers from where the humming bird had been feeding himself reverse their process and start to become cocoons.

54:05 (00:00 partial) / During the following chapter we will display at full heigth landscapes and other prominent places from each one of the 7 turkish regions (Aegean, Burdur, Rumeli, Seymen, Mus, Erzurum and Karadeniz). All the regions images will be the background for one dancers performance of the traditional and popular dances from each one of the 7 regions.