As part of the master plan for the development of the capital until 2050, the creation of new social and cultural facilities is planned. Currently, there are eight municipal houses of culture operating in Bishkek, which can accommodate a total of 1,100 spectators.
From October 29 to November 2, an event dedicated to Russian culture will take place in Kyrgyzstan. The Deputy Minister of Culture, Information and Youth Policy of the Kyrgyz Republic, Timurlan Azhymaliev, announced this at a press conference at the "Kabar" agency. According to Azhymaliev, this event aims to strengthen cultural ties between the two countries.
Embroidery of the Southern Kyrgyz Southern Kyrgyz embroidery is the result of centuries of artistic creativity. Its characteristic features are highly developed stylization and decorativeness. In recent years, there has been a more diverse technique here than among the northern Kyrgyz. Stitches such as "ilmidos," "duria," "mushkul," and "jormo" did not develop in northern Kyrgyz embroidery, while they are quite characteristic of the south. Among them,
CONCLUSION The Kyrgyz people, stepping from the world of feudal relations into the world of socialism as a result of the Great October Socialist Revolution, take pride in their achievements in all areas of the national economy and culture. The path that took the peoples of capitalist countries centuries, the Kyrgyz people, led by the Leninist party, traversed in half a century. In the development of education, healthcare, and other areas of culture, they significantly outpaced the wealthiest,
Artistic Crafts: Traditions and Modernity The decorative and applied arts of various territorial groups of Kyrgyz people have much in common, as well as some local peculiarities. The southern regions are characterized by pile and non-pile weaving with polychrome patterns on a light background and special stitches (on women's headwear and household decoration items). The southern Kyrgyz of the ichkilik group are almost unfamiliar with patterned felt, embroidered wall carpets (tush kiyiz);
The Arrangement of Patterns in Kyrgyz Embroidery Among the other most commonly used patterns in embroidery, we can note the star (“jildyz”), the moon (“ai nuskа”, “ai keshtе”), and the pattern in the shape of a bracket divided in the middle (S. M. Andreev calls it sulёo-sun tyrmak — lynx claws). Among geometric patterns, typical are jagged and zigzag shapes (“iyrek”, “araa”), lines with steps (“kavyrga”), concentric circles with different names, a circle with a spot in the middle (“koy koz”),
Reina Chokoeva's Roles After Giselle, Reina Chokoeva prepared the role of Marin in the ballet "The Fountain of Bakhchisarai" by B. Astafiev (before her, this role was performed in the Kyrgyz theater by B. Beishenaliev and Ch. Djamanova). For Chokoeva-Marin, it is characteristic to strive not only for technical mastery of the role but also to infuse it with significant intellectual content, revealing the subtext of Pushkin.
Soloist of the Ballet... It was a dream come true. Along with the joy that Reina always felt from dancing, a sense of responsibility was added. In the theater, she immediately immersed herself in its creative atmosphere. She was entrusted with the role of Cholpon in the eponymous Kyrgyz ballet. She was to dance alongside the renowned Kyrgyz ballerina Bibisara Beishenaliev. This came with a lot of expectations. She threw herself into her work, and by the following year, 1957, the debut of the
Southern Kyrgyz Embroidery The next ornamental motif characteristic of southern Kyrgyz embroidery is the depiction of a leaf. It is presented in several variations. The most typical of them are the lanceolate double-sided leaf, the lanceolate leaf with cutouts on one side, and the leaf with symmetrical cutouts on both sides (fig. 65, 12—14). The reproduction of the leaf is so realistic that there is complete consistency in naming: berk (leaf), tal berki (willow leaf). However, if the leaf is
Reina Chokoeva In the south of Kyrgyzstan, in the Jalal-Abad region, there is a small village called Uch-Terek, which translates to "three trees." Indeed, once there were only three trees in the village. And around—stones, sand, sun-scorched earth.
The Artistic Creativity of Kyrgyz Women At first glance, one might get the impression that the embroidery of southern Kyrgyz people is rich in a variety of ornamental forms. However, a more careful analysis of the ornament reveals a certain limitation of motifs. The dynamism, expressiveness, and richness of the embroidery ornament can be attributed to variations in both the motifs of the pattern and the compositional solutions. Great artistry is manifested in the combination of ornamental
Scene from the second act of the ballet "Romeo and Juliet": B. Suslov as Tybalt, E. Voevodkin as Mercutio. Honored Artist of the Kyrgyz SSR B. Suslov. L. A. Zhukov, who staged the ballet "Red Poppy" by R. Glière following "Swan Lake," entrusted B. Suslov with the role of Captain. Naturally, this static, non-dancing role could not captivate B. Suslov: Ma Lichen — that was the role to play! But what can you do.... The new choreographer of the theater, I. K.
Surface Stitches. Surface stitches include the basma, buraya, chirash, kepturme, suurma, jormyo, and stem stitches. The "basma" stitch is executed by laying rows of threads across the width of the pattern. Each thread is attached to the material with stitches that are thrown over this thread in several places. The stitches create a peculiar linear (or mottled) ripple on the embroidered surface (see Fig. 64, a, b). On the reverse side of the fabric, the surface stitches leave linear
One of the Leading Soviet Artists of the Kyrgyz Ballet Theater B.V. Suslov Boris Vasilyevich Suslov — one of the leading artists of the Kyrgyz Ballet Theater — was born in Kyrgyzstan and grew up in the village of Prokhladnoye in the Alamudun district. In his childhood, he harbored a boyish dream of "flying away" to distant lands — to see with his own eyes the vast world that lay far beyond the Kyrgyz mountains. Yet, Boris Suslov never left; his native land always drew him back. As a
Loop Stitches The loop stitches ilme, ilmedos, tuura saima, and overlock stitches are considered to be of one type, as each of them is constructed using a loop, arranged and tightened differently. These stitches are not related to counting; they are embroidered according to a pre-planned pattern; they are ancient and characteristic of Central Asian embroidery. The "ilme" stitch is widely used among all Kyrgyz, as well as many other peoples, and dates back to ancient times. In the
Achievements of U. Sarbagishev During the decade of Kyrgyz art in Moscow, Uran Sarbagishev successfully performed in the roles of Kadyra and Nurdin. After the decade, Sarbagishev experienced a new creative upsurge, preparing the role of Albrecht ("Giselle" by A. Adam).
Stitch "d j or m o m ё" The stitch "d j or m o m ё" (from the word "жормо" — to sew through the edge), i.e., cross stitch, has three variants in Kyrgyz embroidery, differing from each other in technique, pattern, the item being embroidered, and the material used. The first variant is chronologically earlier, while the other two are characteristic of the Soviet era. In the early period, Kyrgyz people embroidered narrow strips with cross stitch, which were sewn onto
Stitch "terskayik" The technique of execution, i.e., the stitch, is of great importance for the classification of embroidery. Usually, the nature of the stitch, the item being embroidered, the material, and the ornament are closely interconnected. Certain stitches correspond to specific ornaments, which are introduced with the emergence of new techniques, and then, as they are mastered, begin to acquire specific features characteristic of Kyrgyz ornamentation. In our analysis of
Images Created by U. Sarbagishev The next two years did not bring Sarbagishev much creative satisfaction. In partnership with E. Voievodkin and later with A. Abdurakhmanov, he performed in the episodic role of the friends of Phoebus in "Esmeralda," then danced the role of Prince Siegfried in "Swan Lake" and Desire in "The Sleeping Beauty." Both the productions themselves and the performance of these roles in the Kyrgyz theater were not innovative. In 1957, the
Embroiderers The material on which southern Kyrgyz people embroidered is quite diverse. It includes leather, felt, fabric made of wool or cotton, silk or cotton braid woven by hand, on small looms, or on boards. Purchased materials were also widely used: fabrics of artisanal Central Asian or Kashgar production, and with the increase in the import of factory-made fabrics into Central Asia in the 1980s and 1990s — red cloth (manat), black velvet (barkut, bakhmal), which were especially highly
Frame from the movie "Cholpon - Morning Star". Aydai - B. Beishenaliev, Nurdin - U. Sarbagishev. U. Sarbagishev's Return to Frunze After His Studies Uran Sarbagishev graduated from the Ural School in 1955. At the graduation exam, he performed in a dance duet — a pas de deux from the third act of the ballet "Swan Lake" and in the duet of the Bluebird and Princess Florina from "Sleeping Beauty". Never before had Uran danced like he did that memorable evening.
Embroidery Embroidery is one of the most widespread forms of Kyrgyz folk art in the past. The skill of embroidery was usually taught from the age of 10-12. Women passed on their mastery of embroidery to their daughters and granddaughters. National artistic style finds its most vivid expression in embroidery. It is manifested in the relationships of colors and in the richness of ornamentation. This type of applied art is a valuable source for revealing the unique features of culture and for
Uran Sarbagishev Despite his youth, the People's Artist of the Kyrgyz SSR, Uran Sarbagishev, is widely known beyond the republic. In 1966, at the Cuban festival, performing at the García Lorca Theater in Havana, he captivated ballet connoisseurs with his artistry. Shortly after the festival opened, Havana newspapers unanimously recognized him as "the best of the dancers." And this was at a festival where the best dancers in the world competed! Most Kyrgyz actors come from
Production of Carpets In southern Kyrgyzstan, in addition to pile carpets, they also produce pileless carpets, of the type known as "arabi kilim." Such carpets are made by the Karshi Arabs. Carpets have firmly entered the daily life of the Kyrgyz of the Kipchak group (Batken region). They are also made in the Laylak region, and less frequently in the Frunze region. This type of carpet was historically intended for the same purposes as pile carpets: it was used during migrations and
Kyrgyz Carpet Weaving Patterns whose names are associated with the plant world are equally diverse. The foremost among them is "toguz döbö," various versions of which in the form of rosettes are widely spread across Kyrgyzstan. However, a rosette with a more or less smoothed contour is often referred to by carpet weavers, as mentioned above, as an animal's footprint. Alongside the Kyrgyz name "toguz döbö," another name—segiz pista (eight pistachios)—is found in the
“No matter what role I played, I always danced from the heart...” Artists of the Kyrgyz ballet face the specific challenge of simultaneously working on both national and classical repertoires. This is not easy, but it sharpens all facets of talent, hones the actor's ability to transform, and utilizes all the achievements of Russian and Kyrgyz ballet schools. In this ability lies perhaps the secret of many successes of the Kyrgyz ballet theater. Saynat Djokobaeva possesses the skill to
Characteristics of Main Carpet Patterns Many ornamental motifs of Kyrgyz carpets bear a strong resemblance to the patterns of products from various peoples of Central Asia, Kazakhstan, the Caucasus, and Xinjiang, indicating deep common roots. Some carpet patterns used by the Kyrgyz are very expressive. They likely symbolically reflected specific objects that formed the basis of ancient ornamentation. Countless variations, inevitable in individual creativity, have over time brought significant
Sainat Djokobaeva Sainat Djokobaeva's childhood was spent in a small Kyrgyz village, Tokoldesh. She first saw the city when her older brother Abdraim brought her to Frunze. The girl had no idea that this was the day of a significant turning point in her life. Right from the bus station, they headed to the theater, where the admissions committee was selecting students for the Leningrad Choreographic School. In the theater, Sainat timidly clung to Abdraim. She looked around — everything
Eastern Turkestan Carpets A. Felkerzam notes seven types of Eastern Turkestan carpets. Two of them find analogies in Kyrgyz products: these are carpets with a "grid" ornament (a connection of four "S" shapes) and with a tiled arrangement of the pattern. Carpets with a "grid" ornament are classified by us as the second type. This pattern has become very popular among all southern Kyrgyz, including the Pamiris. Carpets with a tiled arrangement, according to our
The Role of Cholpon in M. Raukhverger's Ballet The role of Cholpon in the eponymous ballet by M. Raukhverger was inherited by Dzhamanova from Beyshenalieva. This role corresponded more closely to the peculiarities of her character. It was here that Dzhamanova's talent was widely revealed. The author of the libretto, O. Sarbagishev, named the heroine of the ballet after his niece — Cholpon Dzhamanova. Years passed. And the one whose name the ballet bore performed the role of Cholpon
A Unique Type of Kyrgyz Carpet In the compositional structure of the central field, rhythmic placement of ornamental motifs is primarily noted. The carpet is not overloaded with diverse patterns, which is typical, for example, for Caucasian carpet products. The uniformity in the construction of the rapport or two to three repetitions gives the Kyrgyz carpet its distinctive appearance. Several types of compositions of the central field are identified: 1. The central field is divided into two,
Cholpon Dzhamanova Ch. Dzhamanova was born in Chaek — in the heart of the Tien Shan mountains. The small, abandoned village of Chaek in the mountains has given rise to many prominent figures in Kyrgyz art: one of the first directors, Otunchu Sarbagisheva, actor Muratbek Ryskulov, outstanding akyn and storyteller Kalyk Akiev, famous folk comedian Kudaybergen Omurzakov (Kuyruchuk), and poet Midin Alybaev. And Cholpon Dzhamanova takes pride in her famous fellow countrymen.
Pattern of Kyrgyz Antique Carpets Kyrgyz antique carpets are distinguished by their high artistic merits, which do not exceed the bounds of modesty and elegant simplicity. They are devoid of gaudiness both in coloring and ornamentation. The pattern organically connects with the background, forming a single whole with it. The color palette of Kyrgyz carpets is limited to two main colors: red and blue. Both colors are presented in muted tones. It is in such colors that we have recorded Kyrgyz
Juliet-Beyshenalieva Beyshenalieva continued to work diligently in new performances on the stage of the Kyrgyz ballet theater, particularly in the ballet "Romeo and Juliet." Immediately after the premiere, the republican newspaper "Soviet Kyrgyzstan" published a small note under the heading "Fresh Impressions." It mentioned Beyshenalieva: "Her Juliet is so light, so charming, and expresses such a passionate impulse and inspired feeling that it makes one
Bestowal of the Honorary Title of People's Artist of the Kirghiz SSR to Beyshenalieva The talent of the actress, her work, and public activities were recognized with the awarding of the honorary title of People's Artist of the Kirghiz SSR in 1954. When watching Bibisara Beyshenalieva's performances in various ballet productions—from Anar to the pinnacle of Russian classical ballet, such as the role of Odette in "Swan Lake"—one cannot help but reflect on the breadth of
B. Beishenalieva as Tao Hoa For a long time, B. Beishenalieva had to perform in ballet productions that had a fairy-tale character. The heroines in these performances mostly expressed a conventional nature. This was the case in "Raymonda," "Swan Lake," and "Cholpon." This cannot be said about "The Fountain of Bakhchisarai" or the ballet "Anar," where the ballerina faced not an abstract plot, but a specific life situation. However, even here,
Beyshenalieva-Odette The role of Zarema was a significant milestone for B. Beyshenalieva on her path of artistic growth. The next step forward for her was the role of Odette in "Swan Lake"—a role that has long been considered a touchstone of a ballerina's talent and technical mastery. While studying in Leningrad, Beyshenalieva watched this ballet literally dozens of times on stage. However, to say that she merely watched would not be entirely accurate. She contemplated the logic
The Roles of Raimonda and Zarema as Performed by Beyshenalieva The role of Raimonda established B. Beyshenalieva's leading position in the Kyrgyz ballet theater. She had already performed a number of excellently played parts and held the title of Honored Artist of the Republic. However, the actress decided to continue her education, which had been interrupted by the war. In 1948, B. Beyshenalieva returned to the Leningrad Choreographic School. This time, her direct teacher was Agrippina
The Girl from the Kyrgyz Village of Tash-Tyube The drawing of the dance shines with novelty, an airy light trace is elusive, she glorified her native people with her astonishing art. Suyunbay Eraliyev.
A Short but Bright Path in Ballet of Jumakalyy Arsygulova The role of Laurensia is one of those that shines with a bright flame from within. It is foreign to the cold, firework-like glow. There is a palpable inner intensity of feelings—boiling passion and tender modesty, the nobility of soulful impulses and ordinary humanity. The image of Laurensia resonated with D. Arsygulova. She fell in love with her heroine, who reveals heartfelt attachment and loyalty, determination and will. At first,
DZHUMAKALYY ARSYGULOVA This name of the first Kyrgyz professional ballerina stands at the origins of Kyrgyz ballet art. Her life and creative path were short. She debuted on the stage of the Kyrgyz Theater in Frunze in August 1941, and died in April 1947. At that time, the actress was 25 years old, and her talent was just beginning to blossom. However, the significance of D. Arsygulova in the history of Kyrgyz theater is not measured solely by the few years she dedicated to art. Her activity
The Heritage of Kyrgyz Theater The success of the performance "Romeo and Juliet" is quite justified: it was the result of many years of searching. For the contemporary level of our theater, both a deep penetration into the dramaturgy of ballet and technical perfection of dance are characteristic. In recent years, performances have been staged on its stage that seem to consolidate the mastery of technique and the diversity of classical dance in Kyrgyz theater. This is exemplified by
Bibisara Beishenaliev and her partner Uran Sarbagishev as Juliet and Romeo In 1961, the Kyrgyz Theater once again turned to contemporary performance, staging the ballet "On the Path of Thunder" by Kara Karayev (based on the novel by Peter Abrahams), but the true celebration of theater came with the next landmark production — the ballet "Romeo and Juliet" by S. Prokofiev — a deeply innovative work by the remarkable Soviet composer (staged by L. Lavrovsky). Staging
Difficulties in the Growth of a Young Theater In 1948, the theater thoughtfully prepared for the staging of B. Asafiev's ballet "The Fountain of Bakhchisarai," and although it cannot be called a landmark work, the theater demonstrated a desire to improve the technique of classical dance. A moment came in the life of the Kyrgyz Ballet Theater when the accumulated experience allowed them to approach the work on such outstanding masterpieces of ballet classics as the ballets of P.
Prerequisites for the Further Development of a New Type of Theatrical Art - Ballet. When the Kyrgyz professional theater was born, there was no question for it — to accept or not to accept realism. From the very beginning of the formation of the Kyrgyz theater, a fruitful line of realism developed within it. Its main features— the depiction of life in its constant movement, folk character and partisanship, patriotism and humanism, national specificity — became fundamental both for the birth of
The Dance in Kyrgyz Opera is a Convincing Addition. An example of the organic integration of dance into the action is represented by the opera "Toktogul" by A. Maldybaev and M. Abdrayev (1956). ... People are working to construct a canal and bring water to the fields. But the horsemen of Kerimbai are vigilantly watching to ensure that the water does not reach the people. At this moment, Toktogul appears. The people greet him with enthusiasm, and the dance (accompanied by a choir)
National Operas National opera performances occupy a significant place in the repertoire of the Kyrgyz State Opera and Ballet Theater. Each of them includes both mass and solo dances. Thus, in the development of Kyrgyz ballet art, it is important to consider the contribution made by opera performances, especially since in most cases the overwhelming majority of the ballet troupe participates in them. Even a brief study of this issue is warranted, as the success of any opera performance depends
Disagreements Between the Artist and Choreographer in the Ballet "Kuyruchuk" In evaluating the music of the ballet "Kuyruchuk" as a whole, it should be emphasized that it is quite distinctive. K. Moldobasanov and G. Okunev use well-known motifs from Kyrgyz folk songs (for example, the romantic song by D. Sheraliyev "Tushumdo" ("In a Dream")). At the same time, the composers boldly tackle the problem of creating original melodies that reflect national
