KARAKALPAK
EPIC HERITAGE
(free download CD in
mp3 format)
This
CD is dedicated to the living musical heritage
of the Karakalpak bards. It is the fruit of
a fieldwork inventory conducted in 2010 under
the auspices of UNESCO,* in cooperation with
cultural institutions from Uzbekistan and Karakalpakstan.
This inventory, which was conducted across the
entire region of Karakalpakstan, resulted in
the recording of nearly 300 vocal and instrumental
works. The 22 songs on this CD were selected
with the help of several well-known musicians,
including Qarimbay Tinibaev, the famous baqsi,
girdjek player and professor at the College
of Arts in Nukus, the capital of Karakalpakstan.
In
1936, Karakalpakstan became an autonomous republic
within Uzbekistan. It is situated in the Western
part of the country, between Kazakhstan in the
north and Turkmenistan in the south. Surrounded
by vast stretches of desert, where a continental
climate prevails, the Karakalpak epic heritage
has been transmitted by two key figures of this
culture: the jiraw and baqsi. The jiraw is a
bard specialized in heroic epics. He depicts
in his singing, the courage and strength of
heroes involved in titanic combats. His narrative
unfolds using a guttural tone and a deep voice
reminiscent of the sound of his two-string fiddle,
the qobiz. The voice and the fiddle of the jiraw,
as well as the content and values revealed in
his epics, convey the mythical world of the
nomads and the wild steppe of Central Asia.
As for the baqsi, his music stems from a rather
different style. He sings epic poems, which
instead celebrate courtly love, in a narrative
style that describes the quest for love, either
by an individual or a couple. The baqsi accompanies
himself with a two-string lute, the duwtar,
while singing in a natural voice. This tone
of voice, the lute and the subject matter of
the epics relate to the myths and dreams of
the sedentary societies of Central Asia. Therefore,
the musical culture of the Karakalpak bards
rests today on two traditions that are not mutually
exclusive, but rather complementary to each
other, specifically in regards to performance.
The epic is a narrative that lasts several hours,
and at times several nights. In the old days,
the baqsi or the jiraw were systematically invited
to weddings. Their performance was one of the
highlights of the ceremony. While the audience
gathered around the fire, the baqsi began by
loosening his fingers with pieces like Nama
basi (tracks 1, 20 and 21). Afterwards, he would
sing didactical and philosophical songs to warm
up his voice (tracks 5, 8 and 12). Once everyone
had gathered around, a venerable elder (aqsaqal)
would ask the audience which epic should be
sung. The aqsaqal would then recite a prayer
(patiya) before the start of the performance.
This occurred at a time when television, radio
and technological entertainments were not part
of everyday life. The narrative of the baqsi
was rather like a film projection. His voice
would bring all kinds of characters to life,
and then to their death—characters embroiled
in tumultuous adventures that enthralled his
audience, to the point of forgetting the passing
time. Each of these bards would devise his own
musical, narrative and gestural means in order
to sustain a lively performance, in the hope
that the listeners would laugh and cry.
The
bard has a very important status and role to
play in traditional Karakalpak society. He is
the bearer of a knowledge that has been passed
on from one generation to another; which has
three levels of transmission. First, he transmits
a cultural memory, which is historical and mythological
in nature. This memory nurtures a sense of belonging
and identity. Secondly, the bard possesses an
artistic body of knowledge that has been transmitted
to him by a master and to whom he will allude
all his life. These epics are articulated through
a distinctive musical aesthetic that was forged
by the great masters of the past (Aqymbet, Muwsa,
Suwej, Genjebaï…). And finally, his
role in society is to pass on moral and ethical
values to anyone listening to his singing. He
is an exemplary role model, not only for his
pupils who try to imitate him, but also for
the whole of his society, desirous to listen
to his voice and pay attention to his wisdom.
It
is obvious that the change that occurred in
the past decades, both technical and socio-cultural
significantly curtailed the social role of the
bards, as well as their spheres of expression.
Henceforth, the bard is subject to the time
constraints of concerts abroad, festivals and
competitions, as well as national commemorations,
during which their performances rarely exceed
ten minutes. Moreover, echoing the radical developments
that took place during the 20th century, today’s
bards are much less often solicited to perform
during weddings; they are rather replaced by
sound systems with many more decibels. As a
result, some musicians, along with their activities
as bards, mix traditional elements with pop
music. Others, however, put their “nose
to the grindstone,” in an effort to bring
back complete epics from old recordings (G.
Allambergenova, J. Piyazov). Nevertheless, the
number of registered students at the Nukus’
College of Arts, under the auspices of G. O’temuratov,
T. Qalliev, Q. Tinibaev or B. Sirimbetov, has
never been higher, since the college opened
in 1991. The interest of young people in the
work of the bard is undeniable, as is evidenced
by their participation in competitions, or in
the fieldwork inventory of 2010, during which
young bards could be recorded all over Karakalpakstan.
Thus, the release of this CD is a testimony
to the life of the Karakalpak epic traditions,
a tribute to the most influential bards of today,
and a support to young people who endeavor to
continue an ancient art of oral transmission,
which has endured the expanse of many centuries,
up to our present day.
Frederic
Leotar
Montreal, October 26, 2011
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CD
in bouklet in PDF
(download)
1.
Nama basi, G’. O’temuratov,
duwtar, trad.
2.
Asirim, B. Sirimbetov, voice and qobiz,
trad.
3.
Ga’lga’lay, O. O’tambetov,
voice and duwtar (N. Nuratdinov, girdjek),
trad.
4.
Saltiq, G. Xamitova, voice and duwtar
(I. Sabourova, girdjek), trad.
5.
Begler, B. O’tepbergenov, voice
and duwtar, trad.
6.
Ulli ziban, J. Piyazov, voice and qobiz,
trad.
7.
Qoshim palwan, B. Asqarova, voice and
duwtar (I. Sabourova, girdjek), trad.
8.
Ken’esli ton, M. Aekeev, voice
and duwtar, trad.
9.
Kelte nalish, Z. Ibragimova, voice and
duwtar, trad.
10.
Idiris, N. Nuratdinov, voice and duwtar
(G. Sultamuratov, girdjek), trad.
11.
Qa’wender, M. Jumatova, voice
and duwtar, trad.
12.
Tolg’aw, B. Esemuratov, voice
and qobiz, trad.
13.
Neshe gu’ller, G. Ra’metova,
voice and duwtar
14.
Besperde, T. Qalliev, voice and duwtar
(S. Qayipnazarov, girdjek, A. Atarbaev,
balaman), trad.
15.
Sa’rbinaz, G. Allambergenova,
voice and duwtar (I. Sabourova, girdjek),
trad.
16.
Adin’nan, A. Seyilxanov, voice
and duwtar, trad.
17.
Sanali keldi, Z. Sheripova, voice and
duwtar, trad.
18.
Qu’nxoja, T. Qalliev, voice and
duwtar, trad.
19.
Muwsa sen yari, N. Nuratdinov, voice
and duwtar (G. Sultamuratov, girdjek),
trad.
20.
Qa’nigu’l, G. Allambergenova,
voice and duwtar (I. Sabourova, girdjek),
trad.
21.
Nalish, M. Jumatova, voice and duwtar,
trad.
22.
Aq ishik, G’. O’temuratov,
duwtar, trad.
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This
project was carried out as part of a UNESCO
program entitled : “Strengthening
the implementation of the 2003 Convention
through National Inventory of living heritage
in selected region of Uzbekistan.”
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