Culture and traditions of writing Origin development changes

Culture and traditions of writing Origin, development, changes, challenges

• Только народ, сумевший создать собственную литературу на родном языке, имеет право на независимое существование (А. Байтурсынов) • Only people that created own literature in native language has the right to independent existence.

• Kazakh oral art- includes over 50 various genres and genre variations: wedding rite songs: zhar- opens the wedding ceremony, betashar- bride’s face opening, sunsy (brides’ weeping), toi bastar (wedding feast opening); - death rite songs - qoshtasy (farewell songs), estirty (news on death), konil aity (expressing condolences in general way), arbau (spellings from shamanistic rituals), duga (spellings with Islamic meaning), baqsy saryny (shamanistic incantation); wish songs (bata- good wishes), zharapazan ( spring songs performed during the holy month of Ramadan); heroic epic, historical songs (dastans and qissa); songs performed during the poetical contests - aitys: bodik aitys, aityses of girls and young man,

• konil aity, zhybaty- compassion songs in tragic situations; age songs – for math skills - counting, for logic and memory skills – taqpak; seasonal. Since Russian and soviet times were introduced new genres: socialprofessional; social-political (prisoners, protesters); regional variety (south, east, west, and north).

• Kazakh literature is the literature created in the modern state of Kazakhstan, the Kazakh SSR, the Kazakh part of the Russian empire, Kazakh khanate, and lands and peoples that made up Kazakh ehtnicity. There is some overlap with several complementary themes, including the literature of the Kazakhs (literature written by ethnic Kazakhs), the literature of Russians in Kazakhstan, and literature written in the Kazakh language. The complexities associated with delineating the subject mirror its complex history.

Specifics of Kazakh literature • 1. Until mid 19 century was primarily unwritten and existed in form of oral legends, myths, songs, poems and stories in human memory, being transmitted by aqyns, zhuray, sals and sere, and talented people. • 2. Part of the literary sources shared between other Turkic peoples was recorded in Italian Latin (Codex cumanicus), Persian, Arabic and Turkic languages. • 3. Basis- myths, legends, folk stories on creation, etc.

• Kazakh literature is the form and the way of the people’s expression of the world around them and its place in it, characterizes the uniqueness and the specifics of the cultural maturity. It must be viewed in several historical evolutionary dimensions: 1) all the literary works (folklore, legends, epics, poems, songs - oral and written ever created on the territory of modern day Kazakhstan since ancient times till present in old Turkic, Persian, Arabic languages; 2) the works created in the Kazakh steppes in post-Mongol times when the ethnic and cultural/linguistic processes was completed and the tribes that later on became the core of Kazakh khanate were formed in Chagatai and Kipshak languages;

• 3) legends, poems, songs and narratives originating dated back to the period of Kazakh khanate formation, Jungar invasions, and Russian expansion; 4) the literature created under the Russian colonial control marked by reflections of the consequences of Russian influence - positive and negative - Kazakh Enlightenment and reformists/Jadids and westernizes of late XIXearly XX centuries; 5) soviet period –postrevolutionary, Great Patriotic war, post-Stalinism, Brezhnev times and Gorbachev era; 6) post- 1991.

• The early period – numerous literary pieces- runic script inscriptions made on stone steles mostly found in Northern Mongolia, dastans/poems, lyrical oral and written epic narratives). Runic inscription in honor of Bilge – kagan and his brother Kultegin (732 -735), advisor of Second Turkic kagan rulers Tonukuk (716), and runic inscriptions in the Talas river valley. To Oguz-Kipshak period relate dastans “Ogyz-name” and “Qorqyt-ata kitabi” (VII-IX centuries) in old Turkic language.

• Qoqyt-ata epic (12 poems) about the real person from Kiyat tribe, was created by Kipshak-Ogyz tribes living in VIII-X centuries around the Syrdariya river basin, was recorded in XIV-XVI centuries by Turkic writers. Qorkqyt is recognized as the founder of epic genre, healing art, qobyz and musical works for qobyz. It tells about the heroic deeds of ogyz military leaders and heroes. • Within the context of the Persian/Arabic/Islamic culture and interpretation of the Greek cultural influence were made the works of al-Farabi (IX c. ), Jusuph Balasaguni and Makhmud Kashgari (XI c. ),

• Akhmet Ugnaki (XII c. ). The pre-Mongol literature was common for the Turkic peoples in the region. The period of Karakhanid state was remarkable due to the creation of literary/cultural language- mix of Persian and Turkic, each with regional specifics. The latter consisted of 2 branches: East Kazakhstani and Ogyz-Kipshak. “Divani lugat at-Turk” of Makhmud Kashgari was dedicated to caliph al-Muktadi.

• Kazakh literature of XV-XVIII centuries- the poetry of zhurau about essence of life, ethics and morale, social injustice, native land. The brightest representatives were Qodan-taishy, Asan-qaigy (the first Kazakh philosopher), author of aphorisms, - tolgau. Qaztygan-zhurau Suinish-uly was a lyrical poet and military singer who made his songs during the military battle to inspire the warriors. Most of his works did not survive. • • Literature of the post-Mongol times is characterized by political component, as the poets (zhurau) were active fighters and statesmen fighting on the side of the post-Mongol states- khanates, for the interests of tribal chiefs or khans. •

• The literature was common for the tribes living in the vast areas stretching of former Pax Mongolica where the cultural traditions were mixed – Turkic, Mongol and Persian/Arabic and cultural languages were Kipshak and Persia. The poems translated from one language to another were reinterpreted and enriched within the process, filled new events and names of the heroes were adapted to the regional specifics. One of the most popular was Kipshak translation of “Hosrov and Shirin” of Persian poet Nizami, made in 1341 -1342 by Qytup, court poet under khan Uzbek. Qytup gave his version and filled the poem with the Kipshak proverbs and sayings. The record made in 1338 by Kipshak poet Berke Fatih ibn Edgy survived.

• Horezmi from Kongrat tribe was famous for poem “Mukhabat-name” (1353) in 2 languages Kipshak and Persian. 2 versions of the poem was known – in Arabic and Uigur alphabet. • In late XIV century- Soqyr-Akhmet Urgenshi and Farkylyh zhurau- no poems were left. • Sypyra zhurau Surgytai-uly lived under Tohtamysh and supported him but was known for being honest before the khan and openly criticized him for wrongdoings. • Qodan –taishy was known as zhurau and political figure (Argyn tribe), was opponent of Abulkhair khan, and supported descendants from Urus khan line – Akhmet, Janibek and Kerey in the confrontation with Abulkhair. He left zhoqtau song on the death a man who died in the struggle with Qoblandy.

Mythological bases as part of shamanic practices and folklore • Nadir- Sholak – jin on service to shamans, good by nature, fights against evil (albasty). • Kokaman-giant fighter against all evils. • Shoilan –leader of all evilsshaitans.

• Sharabas – big head giant «Токсан койдын териси, тон шыкпаган Шарабас» (из шкур девяноста овец не могли скроить для Шарабаса шубу), or «Жетпис койдын териси, жен, шыкпаган Шарабас» , что можно перевести примерно как - «из шкур семидесяти баранов не могли сшить рукав для Шарабаса» . He was supporter of baqsy/shamans, under name Qorabai. Shoinkulaq –black force under control of only strong shamans.

• Sary-qyz or Saryshash – read haired female creature on service to shamans.

Mystical creature

Basics • Turkic inscriptions on the kagans’ steles, folklore, legends and myths.

Turkic basis • Primary sources of Kazakh literature are the epics “Alyp Er Tonga”, “Shu Batir, ” created in 11. 3 centuries BC. The scientific studies proved that the events described in them are closely connected with the ancient history of the Kazakh people. Old -Turkic written documents showed that the Turkic tribes of the art word is poetic force, depth of thought and richness of content.

• Folk heritage of Turkish literature represented by legends, tales, proverbs, sayings, heroic and liro epic poems. Among the samples of the heroic epic of the imperishable world’s people are “Alpamys”, “Қобыланды, favorite Kazakh people in social and everyday epics -” Қозы Қорпеш – Bayan Sulu “, ” Қыз Zhibek, later stories – Ayman – Sholpan ” “Күлше-қыз”, “Мақпал-қыз. From folklore written literature abundantly drew ideas, artistic images.

Codex cumanicus • The Codex Cumanicus was a linguistic manual of the Middle Ages, designed to help Catholic missionaries toocommunicate with the Cumans/Polovtsy. It is currently housed in the Library of St. Mark, in Venice (Cod. Mar. Lat. DXLIX). • The first (fol. 1 r-55 v) is a practical handbook of the Kipchak tongue, containing glossaries of words in vulgar Italo-Latin and translations into Persian and Kipchak.

• The second part (fol. 56 r-82 v) is a collection of various religious texts (including a translation of the Lord’s Prayer) and riddles in Kipchak, translated into Latin and Eastern Middle High German. This part of the Codex is referred to as the "German" or "Missionary's Book" and is believed to have been compiled by German Franciscans.

• Kipshak language dominated all aspects of life in Mongols times, as majority were Kypshak Turks. Al-Omari wrote: ”В древности это государство было страной кыпчаков, но когда ими завладели монголы, то кыпчаки сделались их подданными. Потом они (монголы) смешались и породнились с ними (кыпчаками) и земля одержала верх над природными и расовыми качествами их (монголов), и все они стали точно кыпчаки, как будто они одного с ними рода. . . ”

Text extracts • Atamız kim köktesiñ. Alğışlı bolsun seniñ atıñ, kelsin seniñ xanlığıñ, bolsun seniñ tilemekiñ – neçik kim kökte, alay [da] yerde. Kündeki ötmegimizni bizge bugün bergil. Dağı yazuqlarımıznı bizge boşatqıl – neçik biz boşatırbız bizge yaman etkenlerge. Dağı yekniñ sınamaqına bizni quurmağıl. Basa barça yamandan bizni qutxarğıl. Amen! • In English, the text is: • Our Father which art in heaven. Hallowed be thy name. Thy kingdom come. Thy will be done in earth as it is in heaven. Give us this day our daily bread. And forgive us our sins as we forgive those who have done us evil. And lead us not into temptation, But deliver us from evil. Amen.

Codex cumanicus

Its relevance to Kazakh literature • «Кыпчакские языки – группа языков, выделяемая в западнохуннской ветви тюркских языков, делится на три группы: кыпчакскобулгарскую, в которую входят татарский, башкирский языки, кыпчакско-половецкую (караимский, карачаево-балкарский) и третья группа – кыпчакско-ногайская, в которую входят казахский, ногайский и другие языки» .

The "Cuman Riddles" (CC, 119 -120; 143148) • are a crucial source for the study of early Turkic folklore. Andreas Tietze referred to them as "the earliest variants of riddle types that constitute a common heritage of the Turkic-speaking nations. " • Among the riddles in the Codex are the following excerpts: • Aq küymengin avuzı yoq. Ol yumurtqa. • "The white kibitka has no mouth (opening). That is the egg. " • Kökčä ulaχïm kögende semirir. Ol huvun. • "my bluish kid at the tethering rope grows fat, The melon. " • Oturğanım oba yer basqanım baqır canaq. Ol zengi.

Classical Turkic literature • In 9 -12 centuries with the development of oral folk literature and written literature forming the first concept of the imagery, artistic, educational value of art expression. Dictionary Diwaniyah lugat al. Turk, Mahmud Kashgar – vivid evidence of the cultural level of the Turkic peoples in the 11 century. Despite the linguistic character, the dictionary is considered a literary-historical and ethnographic collection. It also has several hundred lines of poetry, dozens of proverbs, sayings, wise aphorisms.

• Dastan “Kutadgu Bilig (didactic work” virtuous knowledge “) – a set of wise counsel, guidance Yusuf Khas Hajibi Balasaguni, one of the highly Turkic poets and writers.

Kazakh folklore • was formed within centuries on the local (aboriginal) traditions and under strong influences of neighboring and migrating peoples and consists of several genres. The basis – reflection of the natural-climatic conditions (steppe zones, dependence on cosmic phenomena and natural changes) in the economic and social lifestyle (cattle breeding, migration, tribal structure). The first professional collection of Kazakh folklore was initiated by C. Vlikhanov and V. Radlov. They developed the methodology of folklore samples recording with exact texts fixation and short passport data to them.

• The Russian Oriental and Geographical societies’ expedition members contributed greatly to folklore collecting. G. Potanin (1835 -1920) published many Kazakh legends, tales, songs, proverbs, and samples of ritual/ceremonial poetry, epics, etc. In his work “Oriental motives in the medieval European epic” (1899) he stressed that many plots from Kazakh folklore migrated to Europe in various ways. • V. V. Radlov (1837 -1918) made the first classification of Kazakh folklore: didactic, epic and lyrical genres. • A. A. Divayev collected and published the samples of Kazakh epics “Alpamys-batyr”, “Qoblandy”, “Qambar”, fairy tales, songs, etc.

• After 1917 a big work on collecting, editing, research and publication was made by S. Seifullin, M. Auezov, I. Jansygyrov, B. Mailin, A. Zatayevich. • S. Seifullin classified Kazakh folklore as fairy tales, routine ceremonial poetry, religious sagas, songs, proverbs and sayings, philosophicaldidactic aphorisms of biis (judges), verses for recitation (taqpaq), etc. He traces the origin of Kazakh folklore back to the medieval times (era of biis- judges and heroic epics) relevant to Nogay Horde times (end of XIV - mid XVI centuries) preceding the creation of Kazakh khanate. • M. Auezov, A. Margulan pointed to the close connection between folklore and literature in XVIII-XIX centuries. M. Auezov classified folklore as: small genres, heroic, routine poems, historical songs, aityses.

• N. S. Smirnova suggested the periodization of Kazakh folklore: a) Kazakh ethnicity formation (common Turkic motives and traditions, zhyrau poetry); 2) poetry of XVI-XVIII centuries (emergence of aqyns, historical songs and heroic epics about batyrs and heroes of the anti-Jungar struggle; aitys, lyrical songs separated from ritualistic poetry; c) oral poetry of XIX-XX centuries (growth of social and political motives); d) soviet times folklore. • The mythological basis- creatures as personal jins of Kazakh baqsy/shamans: ybylys, shiltens and kind peris/fairies, Kokaman, Nadir. Sholak, Shoinkylak, Sharabas, Er Shoilan, Tompakay, Zhirentai, Tautailak, Tolybek, Barlybai, Zhargyshy etc. )

Folk tales • Auezov M. classified Kazakh tales into: • 1) legends- philosophy • 2) social tales- life style, morale and ethics 3) satirical- fight between good and evil, truth and lies • 4) epic stories about heroes • 5) fables for entertainment •

• Fairy tales are one of the most archaic forms of Kazakh folklore, exists in 3 major genre types: 1) fairy/magical tales; 2) routine tales; 3) tales about animals. The root traditions are based on the legends common for all the Turkic peoples, but particular Kazakh stratum was formed as the cultural mix/melting pot during the Persian/Arabic interlude and Mongol invasions. In the XV-XVIII centuries were formed fairy and routine tales, and a special cycle about wise man- Zhirenshesheshen (orator) and inventive liar Aldar Kose. The plots during the military conflicts were enriched by heroic epics.

• Tales types: 1) about animals and their role in the nature, relations to humans and symbolic representation of the origin of human qualities: wit, wisdom, stupidity and courage, typical for children with the similar plots as in the tales of other peoples; 2) fables on the origin of things openly expressing the ideal; 3) with ethic content on the origin of society and its norms/problems represented directly the human world

• Magical tales date back to the primitive society times, and many relics of the lifestyle, social organization (matriarchate), beliefs (animism, totemism fetishism, magic), rituals (kuvada, dual society, aunkulat, polyandry, polygamy), ethical and aesthetical visions, are clearly emphasized through the remarks on the origin. Magical tales are close to heroic epics, have prologue and epilogue, and deal mostly with the human actions in the broad social-historical content within the cosmic – salvation mission, fight between evil and good. The main hero is an idealized person, defender of the people’s interests and fighter against social injustice from the low social strata: hunter, shepherd, batyr, etc.

• The magical tales social context changed within the times- the main heroes evolved from a people’s defender into a successor of the tribal/clan traditions – younger son. • The routine tales are big stories about with rich social context aimed to prove some morale or satirize evil – injustice, idle life, or rich people, that exploit the poor. The main heroes are popular Aldar-Kose, Zherenshe-sheshen, Qozhanasyr.

• Riddles- minor genre in form of poetical definitions of one or two phrases or lines, describing typical and specific features of natural and social phenomena, the people have to guess. Functions: educational (training of logic and imagination) and entertaining. Types: riddles and aitys-riddle (are created during the aityses by aqyns to complicate the task of the opponent). The most famous are riddles composed during aityes between Aset and Ryszhan, Sapargali and Nurzhan. • The composition of riddles is close to proverbs and sayings, aphorisms and orator statements.

Persian influence- dastan • Dastan- (from Persian- story) epic poem, folklore interpretation of heroic myths, legends and fables. They usually tell about adventures in hyperbolized way, exaggerating the difficulties the idealized heroes have to solve. 2 types of dastan: folklore and literary. Dastans influenced the education, world outlook formation and arts of many Kazakh poets/aqyns, zurshy, and writers

epics • “Er-Targyn” (Kazan, 1862), was recorded by N. Ilminsky from the words of aqyn Marabay.

• Epic - one of the genres of oral folk art, originating in the early times from short tales and legends of Turkic times about heroes and their exploits. Most of epics were formed in Mongol and post-Mongol times (XIII- XIV centuries) during turbulent times when only strong people could survive and provide freedom and stability. Epics “Kara-bek”, “Yer Kokshe”, “Kobylandybatyr” were created post XIII century. All the personages of epics were warriors - the models of military honor and heroism - both in the battlefields and in peacetimes. Epics’ narrators (zhurshy and zhurau) were also great warriors. Asan Qaigy was one of the influential statesmen and warlords of the Golden Horde principalities- of Ulu Mukhamed.

• “Oguz-name”- is common for the Turkic peoples, was created on the basis of the Oguz tribes’ legend about their military campaigns, leaders and way of life. It is known by the records of VIII century Rashiddin, later version – of Abylgazi (XVII century). • “Mukhabat-name”- collection of epics created in XIV century by Turkic Kipshak tribes living along the Sur-Dariya River (Oguz-Kipshak tribes). The poetical version –dastan (created by poet Khorezmi) came in two linguistic versions- Old Turkic and Arabic. The second version lists some personalities (Janibek, Mukhambet, Qozhabek) from the Kazakh history.

• • “Yer-Targyn” - Kazakh heroic epic, but also refers to Nogay period historical legacy common for Tatars and Bashkirs, the content correlates with the historical events of XV century when the main hero Yer-Targyn – batyr, people’s defender, and fighter against invaders. He is accompanied by his beloved Aq-Zhynis. The main idea of the epic- unity between tribes for the common cause, end of inter-tribal rivalry. It was first recorded and published in Kazan (1862), N. Ilminsky from the words of aqyn Marabay

• Zhyrau or zhyrshy (from Turkic- jir- song) – singers in the khan’s horde residence, depicting the most significant events in politics and social life, glorifying the rulers and heroes, criticizing the wrongdoings, advising and forecasting. Zhyrau as form of poetical activities originate in V century BCE out of the shamans functional duties, which by time diversified and there grew out many labor specializations. The foretellers and epics narrators were called zhyrau, healers- baqsy. The first recorded zhyrau are stone inscriptions on the monuments to Turkic rulers- Bige-kagan and Tonyukuk. Iyuolyg-tegin –author of the inscriptions- the first of known zhyrau in history whose works survived in nomadic society.

• Evolution of steppe oral poetry and narration crystallized in the Kipshak steppe in XII century embracing specifics of nomadic lifestyle, maintenance of ancient traditions, free warrior mentality and was enriched by complex network of links with other cultures and religions. The zhyrau Golden age in Kazakh steppe began since XV century. By that time Turkic poetry freed itself from Arabic and Persian borrowings in style and content, and dealt with philosophical and socialpolitical issues mostly. The most famous were Sypyr, Dospambet, Bukhar, Umbetey, Asan-kaigy, Qaztygan, Shalkiiz, Tatti-Kerey, etc. Zhyrau also dealt with the foreign policy activities-

• described missions of embassies, delegations reception, military campaign declaration, disputes between tribal confederations and tribal leaders, peace making and diplomatic relations with neighbors. Zhurau performed numerous functions in society: 1) leadership- political, military and social; 2) diplomacy – inter-and intra-tribal problems motion and dispute settlement; 3) ideology creation and promotion, advising at all levels, expression of public opinion and mobilization for some cause; 4) traditions, culture and history maintenance; 5) education; 6) foretelling, entertainment and psychological training. legendary Sypyr-zhyrau was said to correct 9 rulers by his songs.

• Kazakhstani philologist M. Magauin, researcher of zhyrau heritage, told that Ketbyga-zhyrau (lived in XII century) was to bring the “black” news of Chingyz khan’s elder son Jochi, but created a song "Аqsaq kulan" (Lame kulan) and performed to the great khan. As zhyaru pronounced no word, the musical instrument –qobyz- was punished- filled with melt lead by the khan’s order. In ancient times zhyrau accompanied his songs by playing musical instruments, qobyz was the typical one, but by XVIII century he was just poet-improviser. With the introduction of Islam into the steppe societies zhyrau poetry was declared pagan and forbidden as it challenged the authority of Muslim clergy.

• Qobyz was called “devil instrument” and burnt, while zhyraus were declared non-grata and persecuted. The last zhurau was Bukhar, advisor to Abylai khan. Zhuray heritage is hidden by time, and practically lost, as their records are distorted by copywriters who used Arabic. Script changes initiated by Russian and soviet authorities cut off considerable part of cultural heritage. The soviet politics of nations creation viewed khans, sultans, batyrs, zhyraus, Turkic unity to be “bourgeois nationalism” and banned their studies. In the 1958 edition of the “Anthology of Kazakh poetry”, it begins from XVII century- Bukhar zhyrau poetry. In fact, that was the end of zhyrau poetry Golden age.

• Qaztugan zhurau- epics creator and narrator, military unit singer, tribal chief. Dospambet zhurau- military unit singer, knight who viewed death on the battlefield – the best lot for a warrior. Shakiiz-zhurau Tilenshi uly - spent all his life in fighting. Zhiembet and Margasqa- warlords of Yessim khan times • Aqtamberdi zhurau- warlord of the war against Jungars. Umbtei zhurau- warlord. Bukhar- zhurau- warlord. Sugir- protested against the soviet regime.

• Qambar batyr, Qoblandy batyr, Oraq- Mamai batyrdyn hikayasy, Kissa-INaryqtyn uly Shora batyr”, Kissa-IQulamergen. • Love epics- Qozy Korpesh, Qyz Zhibek, Aiman-Sholpan.

Asan Qaigy (Hasan Sabit uly) • Lived in XV century, in his works he gave a vision of the Time of troubles in the history of Turkic peoples during the collapse of the Golden Horde. He told about the need of unity.

• Zhurau- representative of the people, several clans, stood above the tribal politics, usually acting as an advisor to khan, dealing mostly with the supra-tribal issues of state significance. •

Qaztygan – zhurau • He gave detailed and bright images of the world around, was a warrior. His words turned into proverbs and sayings.

Shalniyaz zhurau • (1465 -1560), only 600 lines were left from him. He wrote about man, environment. Main ideas- live full life and enjoy it.

Bukhar zhyrau

Kazakh song classification by genres • Levshin A. : heroic, everyday ritualistic, lyrics. • Gotovitsky M. : epical, lyrical and drama.

Social poetry • 1) funeral • 2) wedding • 3) cradle songs

Songs types • Estirty- song-message about the death of the close relative in indirect way through metaphors, metonymies, symbols. It ends with the naming of the man that passed away and a new song starts- zhybaty (counseling), that calls to stand firm and reconcile with the loss in indirect way through symbols, comparisons, metaphors. •

• Zhoqtay- song performed by relatives over his body right after the death news came, three times a day during 1 year until the commemoration feast. Zhoqtay has special tunes made on dombra or qobyz as kuis, in idealized way are listed the virtues of the diseased person and is expressed deep sorrow on his death. •

• Qoshtasy (farewell songs) types: farewell to motherland, native lands, youth, life, etc. The most famous qoshtasy are improvisations created in different times: Kazakh -Jungar wars, Tauke song to Jetysy befreo exile to Siberia, Sabyrbay and Birzhan aqyns songs before death, Ai and Tansyq songs to native lands in epic “Qozy-Korpesh and Bayan suly”.

Olen • Olen - song, essential part of the lifestyle, moralpsychological basis and social-political realities of Kazakh people. Genres: 1) social-political (nonceremonial): arnau (dedication); madaqtau (admiration); tarihi olen (historical); qara olen (simple/ordinary verses); hat-olen (message): sinolen (individual –lyric); zheldirme (fast tempo recitative); 2) ceremonial-routine: toi-bastar (wedding ceremony opening); toi-tarqar (wedding ceremony closing); zhar-zhar (wedding ceremony duets - males vs females); bet-ashar (bride’s face opening); besik zhyry (cradle songs); qoshtasy (farewell); zhoqtau (mourning); zhal-saly (announcements); estirty, konil aity,

• zhubaty (notification of death, condolences, consolation); 3) working, trade songs: tinlik (pastoral); eginshilik (agrarian, anshylyk, saltkerlik (hunters’ songs); zhymyshshy zhyry (workers’ songs); 3) didactic: nakliyat (didactic); algys bata, tilek bery (wishes, blessings, gratitude); zharapazan (carols); taqpaq (declamations); zhymbaq (riddles/puzzles); mysal (fables); 4) fantasy-songs: anyz (legends); otirik (fables); 5) satirical-humorous; 6) ceremonial/ritualistic.

• Modern lyrical songs: 1) social-political (non-ceremonial) about motherland, heroes of war, revolutionary, rebellious, patriotic- “Elim-ai” (originates in the period of Jungar invasions); 2) ceremonial-ritualistic- routine family life episodes, problems; 3) love lyrics.

Aqyn poetry • Aqyn poetry was fed by the heroic epics of zhurau.

• Aqyn- poet in Kazakh culture, the representative of tribe, traveling from one place to another to compete other aqyns to raise only inter-tribal relations. The origin of the word: 1) Persian (scholar, educated, respected, smart; 2) Kazakh (freely flow); 3) Turkic (the one who attacks). The mission- to defend the tribal reputation/status during the poetical competitions in ancient times started before the military conflict to: a) demonstrate the military spirit; b) call the spirits for protection; c) psychological pressure on the opponent by mocking the opponent. In peacetimes aqyns performs the functions: a) wedding ceremonies; b) funerals; c) annual commemorations.

Functions of aqyns • Synergetic: narrators (creators and performers of epics), story tellers, poets, singers, musicians and composers, and guides in the complex world of traditions, rituals, bridge between past through present to the future, public figures as they took part in the disputes settlements, chronicles makers.

Criteria for good aqyns • 1) excellent memory to details, general line and sequence of events, traditional phrases and formulas; 2) good diction; 3) talents to improvisation; 4) be able to answer questions and give comments; 5) play musical instruments; 6) contact with the audience; 7) good health; 8) good food and no alcoholism; 9) good temper and humour. • -

Aqyn arts • 1) gift from the heaven; 2) recognition by the reputable aqyns/experts after participation in the aitys and other contests- exam and blessing- bata; 3) blessing from the holy place – grave yard of the saint.

• Case: many talented and famous aqyns god popularity after blessing after they spent a night at the grave yard of Faizulla bab in Chimkent area- Abyl, Baqytbai Zholbarys ulu, Birzhan sal Kozhagul ulu, Suinbai Aron ulu, Shashubai Qoshqarbai ulu, Almazhan Azamat qyzy, etc. • 4) after training by the famous aqyn- 3 -5 years. The student also helped in daily life to his master. • 5) family background • 6) specialized training- in present times

Types of aqyns by performing arts • 1) zhai aqyn; 2) kyssa aqyn; 3) aqpa aqyn. • Zhai aqyn- have simple and general performing talent to play and sing traditional things from epics and legends. • Kyssa aqyn- have a good memory and sing long pieces from books and chronicles.

• Aqpa aqyn- tokpe aqyn- observe classical norms and performance but accompany with musical instruments and improvise. The know about 1000 -1500 poems – tolgau and 3040 pieces. They also can make own things at once.

Abyl – author of epics «Мyrzatai batyr» , «Qulbaraq» , «Zhaparberdy» , «Suinqara» ; Baqtubai Zhorbarys ulu – «Еdigei and Nuran» ; Qashagan Qyrshyman ulu (1841 -1929) – «Аdai teki» , «Аtameken» , «Тоpan» ; Моlda Musa – «Ury and Zholbarys» , «Zhar bes Opo» , «Er Shora» ; Nurpeis Baiqa (1860 -1945) – «Аqkenzhe and Nargiz» ; Кеtе Jusup (1871 -1937) – «Zeinep qyz» , «Меkep qatyn» , «Sumergen» ; Кеnen Azerbai (1884 -1976) – «Аli batyr» , «Qyrgyzbai» , «Кеnenbai and Kerpiz» .

Kazakh aqyn knew to level of performance the previous generation of aqyns reached, what his manner and from whom he got the epic/text. Aqyn Myryn (1860 s) told that he performed epic of Sypyr zhurau that came from aqyn Qazaqpai- Qashagan-Karym. Qalniyaz-Qarasai-Abyl.

Types of aqyns practices • 1) wishes and blessings; 2) critics of human vices; 3) jokes as tests of wit and entertainment; 4) psychological characteristics of human traits; 5) condolence on tragic news and events; 6) education and encouragement; 7) philosophy; 8) legal cases settlement; 8) aitys.

Aitys • (from Kazakh oral debates/discussions) a specific genre of Kazakh oral art in form of musical-poetical contests between the representatives of tribes- aqyns, evolved from the archaic traditions of competitions between fratrias (tribes led by brothers) during the rituals performing. Later on it transformed into the disputes between tribes’ representatives – orators/sheshens- over judicial affairs; usually were accompanied by playing musical instruments and songs- kuis.

• Aitys as a special bearer, retranslator of Kazakh history, traditions, arts and culture, has a number of functions: 1) communicative – synchronic (in present time- between the aitys participants and the public), diachronic (past – between generations), and between the worlds –this, the other and cosmos; 2) social- political: form of steppe democracy, public mobilization and political socialization, public opinion expression, representation of tribes interests and problems, conflicts/disputes settlement in peaceful way, defense of tribal interests; 3) education;

• 4) economic - redistribution of resources between the groups- the rich were to share through feasts arranging and rewards giving and the poor had chances for getting the piece of wealth; 5) cultural - historical heritage maintenance and sharing, accumulation, enrichment, innovation, free access to all social groups through listening, participation and imitating, and entertainment. The inner structure of aitys is based on the artisticaesthetical mutually influencing emotional experience. Aityses were held in public, divided into 2 parties, each supporting one performer by loud cries and exclamations.

• The result –victory or loss- depended totally on the art and experience of aitys participant, and was first honestly admitted by the participant that he fails. Aitys participants were to be very skilled in poetry, music, singing, orator arts, logic, memory, making use out of the fragmented pieces of information about the opponent’s personality, his tribe and events within and around his tribe/clan and family, and be able to improvise. Types of aitys- zhar-zhar, autys with riddles, badik (spelling)- performed in turn by men and women choruses to expel the evil spirits from the sick person; qaiym – poetical musical contest between young man and woman in improvisation (changing the last words of the famous songs);

• contests between orators (sheshen) and biis (judges); taqpaqtasy – poetical game when the next aqyn must continue the poetical sentence of the previous one. Aitys criteria: a) representatives of the same tribe do not compete; b) no contest between the males and females – relatives along the male line. • The XIX century famous aityskers - Orynbai, Shozhe, Suimbai, Birzhan, Jambul, Maikot, Aset, etc. Among the prominent women aitysker of XIX century were: Sara, Aqsulu, manta, Bolyq, Ryszhan.

• The musical structure of aitys- tuning: 1) maqam (originates from epics narration); 2) saryn (originates from shamans/baqsy recitative). The tuning functions are: 1) artistic expression of the idea to bring it to the listeners; 2) positive impression on public; 3) individual style of the performer. • Aitys includes elements of dramatizing, art of improvisation, signing and speaking culture. The places where aityses are held are richly decorated, and the participants wear bright garments.

• The aitys content depended on the socialpolitical situation, the nature of relations between the tribes and clans, actual themes within the tribal life, participants’ potential, ambitions and qualities, but to focus on the selected topic. Often the participants shifted to general topics to personal relationship criticizing each others’ deficits and vices. • Aityses were held for tribal supremacy demonstration, for participants- defend the tribal reputation, excel in professional learning, they were highly praised and rewarded- cattle (horse, camel), gifts, reputation, for training, experience sharing and enrichment of the repertoire. The most reputable aityses performers were titled sal or sere/seri- Birzhan –sal (Birzhan the noble,

• The high level of musical and poetical culture was maintained through creation and development of traditions through regular performances and participation in aityses but training of disciples that accompanied aqyns and copied, memorized and then transmitted their music, performance techniques, texts of their songs and poems. The training for aitys participants (aitysker) lasted for many years and consisted of the stages: 1) memorization of others’ songs; 2) light tests- aqyn was to reveal his own talents by signing his songs that copied/imitated the well-known patterns; 3) participation in aityses on the given topic with improvisation; 4) maturity – personal and artistic- creation of individual works and free expression of talents in the contests.

• Types: a) light- “qaimdasy and qagysy - held in public places – bazaars, commemorations feasts- between famous aitys masters, or between young lady and young man in form of improvisation in form of message codingits decoding – and coding a reply message; 2) aitys aqyn for inter-tribal disputes settlement (tura-aitys- antiphon from both parties for each couplet of improvisation; sore-aityshigher level when the participants must demonstrate innovation, creativity, smartness, taste, logic, flexibility, humor, laconism in phrases construction and fast reaction); 3) badik-aitys – spellings performed one by males and females to oust evil spirit of illness (badik)or performed in playful form by young men- girls and men in exchange for

• 4) tartys – contest in knowledge of epics or kuis creation and improvisation; 5) ritualisticzhar- performed in chorus by young men and women before the wedding ceremony opening; 6) riddle aitys in form of verses; 7) taq, paq, tas aitys – for testing improvisational and poetical skills – participants have to continue the in rhyme the line created by another one to finish it. The aitys types bear the specifics of historical period, for example, the early version of aitys were dialogue between the dead and the living persons, a man and animal, animals and things, and badik and zhar-zhar contain Islamic motives and notions (Mecca, Allah, Quday/god). Until mid XIX century aityses’ texts were unwritten and were retranslated from one generation to

• In soviet times, aityses were employed to serve the ideological streamlining and indoctrinationto stimulate working enthusiasm, collectivism, leadership of the communist party, brotherhood between ethnic groups, belief in the bright future buildingcommunism, criticism of the vices of the pastidleness, etc. The texts were censored to avoid regime criticism.

• In present times, aityses are arranged by the local administration, and sponsored by state structures and big business, and individual entrepreneurs. The criteria for aitys contest participation are as follows: the candidate must improvise a song in 24 4 -stanza verse, the first six lines must be dedicated to the contest organizers, 3 - to praising the females that accompany the improver, 6 – praising cattle and property, 3 – humorous and 5 - to the beloved one. The final 24 th stanza is to be structured as anacyclical verse.

• The aitys renaissance in post-1991 political, social and cultural life of Kazakh society was welcomed by the public, and initially supported by the government, but deepening of aitys topics, broad public resonance to the problems motioned by the airtyskers, fear of confidence loss to the state structure, forced the authorities since December 2010 (ban of the Minister of culture on the authorities criticism during the aitys) to strictly control the aitys process at all the stages- from the participants’ selection, content of their improvised texts, topics- only praising the regime and its achievements, and broadcasting). •

• The content of aitys narrations depended on the social-political situation, regional specifics and artistic skills of the participants. • The role of aitys in the Kazakh culture: a) mystical -religious; 2) philosophical; 3) social (selfrealization for the aitys performer; 4) political; 5) educational; 6) moral. • In soviet times, aityses turned into an effective instrument of the ideological indoctrination and manipulation of mass consciousness to implant the ideas of better life under the regime or called attention to the unsettled social issues. Main topics - heroic struggle during the Great Patriotic war, virgin lands campaign, friendship of soviet people.

Epic «Qozy Korpesh and Bayan sulu» , the most brilliant epic, was ideally recorded by M. Auezov from the words of aqyn Wais Shyndybayev (1874 -1926), who got it from his master Beisembaifrom aqyn Bekbai-from Synanbaifrom Zhanaq (1780 -1850).

• Historical narrators: C. Valikhanov stated that Shal-aqyn made a poetical genealogy of Atugai tribe- from ancestors to contemporaries. • Kusen aqyn- made an epic about Utegen, tribal chief and batyr from Zhanys tribe.

• Bukhar-zhirau Kalkaman Uli ( (1693– 1789) was a Kazakh poet at the court of the Middle Horde. His period of activity at the court lasted from 1711 until 1781, during the reign of the Abylay Khan. Although his primary activity was entertaining the court through poetry and singing, Kalmakanov also acted as an advisor to the Khan. Because of this, his poetry dealt with broader themes which included politics, the foreign policy of the horde, and the life of the Khan. Kalmakanov is not known to have written any epics.

Tattimbet

Russian period • From Abay through Zar Zaman to Aiqap and Kazakh magazines activities

• Aiqap (from Kazakh “Alas!’)- Kazakh- publicpolitical and literary-critical magazine, was published in Troitsk since January 1911 to August 1915 (88 issues). The founder and chief editor- publicist of social-democratic views Mukhamedjan Seralin. The magazine published works of S. Toraigyrov, S. Donentayev, S. Seifullin, B. Mailin, etc. It represented the interests of the Kazakh poor and called the people to enlightenment, progress. The magazine also criticized corruption of Russian officials, impoverishment of Kazakh population. But Russian authorities found it too dangerous and banned it.

Soviet – criticism and denial of the all previous cultural legacy • Why? As nationalist, pan-Islamic, pan. Turkic, competitive to the soviet ideology and plans of new identity creation- soviet people centered around Russian culture, with strong ideological content.

• In August 1918 was set up literary-publishing department of Chief literature (Glavlit)- ban and destruction of Kazakh literary heritage – Suinbai, Dualetkerei, Kurmangazy- the early basis of the literary tradition. • 1923 - destruction of the works of Irzhanov, Kashimov, Shortanbai. • 1927 - Mailin, Kelsengirov, Aimautov, Aseifullin, Jansugurov, Togzhanov, Zatayevich

• Different approach to the understanding and reflection of the changes brought by the Bolshevik regime polarized the writers and poets. Despite the fact that they had to in different ways collaborated with the regime, they formed the camps and criticized each other. • Sabit Mukanov - pro-soviet stance • M. Zhumabayaev- mixed • The writers were physically exterminated (including family members), but were burnt their books, names were banned.

Amre Qashaubayev

• Socialist Realism was a product of the Soviet system. Whereas in market societies professional artists earned their living selling to, or being commissioned by rich individuals or the Church, in Soviet society not only was the market suppressed, there were few if any individuals able to patronise the arts and only one institution - the State itself. Hence artists became state employees. As such the State set the parameters for what it employed them to do. What was expected of the artist was that he/she be formally qualified and to reach a standard of competence. However, whilst this rewarded basic competency, it did not provide an incentive to excel, resulting in a stultification similar to that in other spheres of Soviet society.

• The State, after the Congress of 1934, laid down four rules for what became known as "Socialist Realism" • 1. Proletarian- art relevant to the workers and understandable to them. • 2. Typical- scenes of every day life of the people. • 3. Realistic - in the representational sense. • 4. Partisan - supportive of the aims of the State and the Party.

• Socialist realism is a style of realistic art which developed under Socialism in the Soviet Union and became a dominant style in other communist countries. Socialist realism is a teleologicallyoriented style having as its purpose the furtherance of the goals of socialism and communism. Although related, it should not be confused with Social realism, a type of art that realistically depicts subjects of social concern. Unlike Social realism, Socialist realism often glorifies the roles of the poor.

Kazakh literature of socialist realism • State demanding criteria: authors were to glorify the revolution and soviet transformation, criticize the past as outdated and backward and dangerous for people, who suffered from exploitation of their won nobility- bais, sultans, khan and mullahs, protesters against the soviet rule- basmachi, migrants, Alash-Orda participants and their sympathizers. Prove that Kazakh people by the revolution had strong class consciousness, reflected in hatred to their tribal chiefs, dreamt of revolution, etc. • Past was to be described in gloomy negative tonality. • Present and future- in bright.

Changes in Kazakh literature • 1. Writing in Cyrillic • 2. No religious topics and Arabic words • 3. Topics- class struggle, friendship between Kazakhs and Russians, positive heroes –the communist party members, workers, member of the collective far. Negative personages- bais, khans, nationalists. • 4. Cleansing campaigns and reprisals, creation of writers and poets loyal to the regime • 5. State control and censorship over literary activities • 6. Special training to be writer and poet • 7. State controlled unions or alliances of poets, and writers- Souz pisatelei

• 8. State and party ideological orders/zakaz on some topics, heroes • 9. State rewards to writers and poets- Narodny pisatel • 10. No contacts with the external world • 11. No description of real life • 11. Rich borrowings from Russian language

Reprisals- Bes Arys case

Aimautov Jusipbek

Kazakh language after 1991 • • • 1. ) legal status and linguistic rights 2. ) symbolic value 3. ) functional potential 4. ) number of speakers 5. ) economic potential