How the Innate Inclination of the People Towards Rhythm and Plasticity Helped Kyrgyz Artists Create National Dances and Ballet

How the art of folk storytellers helped Kyrgyz artists create ballet

As is known, the Kyrgyz did not have visual arts due to the fact that the religion of Islam prohibited the depiction of living beings. However, visual art existed in specific forms, such as in the art of ornamentation — decorating household items, clothing, especially in the creation of amateur carpets (tushkiiz, shirdaks, etc.). The ornamentation of carpets is characterized by exceptional simplicity and consists of various sizes of diamond-shaped figures combined with hooks resembling ram's horns. The uncomplicated patterns exhibit a remarkable sense of symmetry, clear rhythm, and smooth transitions of lines. This kind of ornamentation is similar to the graceful plasticity of movements that characterize the light step of a girl and the precise movements of a jigit. The plasticity of the form of amateur visual art from the past convinces us of the existence of a multifaceted connection between various forms of amateur art, allowing us to speak of kinship among them. The plasticity of the lines of the national Kyrgyz ornament corresponds to the plasticity of movements, in which we see clear traces of dance.

The need for rhythmically coordinated movements manifested itself especially during days of rest and celebrations. These movements reflected everyday labor life — hunting, the work of a shepherd, and often the martial struggles of clans and tribes. They conveyed the observance of not only human manners but also the habits of animals that were often depicted. Such a semblance of dance in its early stages was collective in nature, as both labor and military duties were a common affair for the people of the clan or tribe. However, its further development among the Kyrgyz did not proceed as it did among other peoples. Due to the specific living conditions — a nomadic lifestyle, the desire to dance (which never died out in the people) took on special forms. Such forms of a kind of hidden dance, over the centuries, became rituals, games, and pantomime, possessing the rhythmic organization inherent to dance. The Kyrgyz games are deeply theatrical and filled with the essence of everyday life. They reflect the specifics of life — labor processes, living conditions, love, genuine joy, an optimistic worldview, and determination. Essentially, each game often unfolded into a complete theatrical performance, where the players were the performers, and the audience watched, evaluating their artistry according to their merits.

It was not the fault but the misfortune of the people that they did not have the opportunity to express their extraordinary artistic talent in a more sophisticated theatrical form than games. The once-existing socio-economic relations, the low cultural level of the patriarchal-feudal society, and various remnants hindered the intensive development of artistic creativity. In any area of oral-poetic creativity, there are elements that allow us to speak of the presence of pantomimic action in the artistic experience of Kyrgyz culture in the past.

Since ancient times, a movable figurine of a goat, called "tak-teke," has been known among the people. Of course, this figurine alone does not prove the existence of a puppet theater among the Kyrgyz. But what does "tak-teke" represent? A wooden figurine of a goat was placed on a stand. A string was passed through it, which was held by a musician. While playing the komuz, the hand moved, the string tugged at the goat figurine, and the movements, sometimes very funny, invariably evoked a cheerful mood.

In the image of "tak-teke," movement was primarily appealing. It somewhat resembled the running of a goat. And this peculiar imitation of real action was pleasing to the audience.

We find the presence of playful movement elements in the remarkable art of manaschi, jomokchu, and komuzists.

Indeed, the nature of their movements differs from those characteristic of playful games. However, the desire to diversify the verbal narrative with corresponding facial expressions and movements compelled the storyteller and musician to use pantomimic art. The art of manaschi has deep roots in ancient history. It is as ancient as "Manas" itself — the greatest work of intellect, beauty, and aspiration for the future, which permeates this remarkable monument of the oral creativity of the Kyrgyz people. Over the centuries, manaschi inherited a special manner of storytelling in the form of a smoothly flowing recitative. But the manaschi never limited himself to just narration. His performance is saturated with elements of expressive theatricalization — gestures and pantomime complement and illustrate the content of the epic.

In 1940, a jubilee for the poet Togolok Moldo was celebrated in the Tian Shan. The oldest Russian writer I. S. Sokolov-Mikitov attended the jubilee. In his poetic essay "The Heart of the Singer," he left a vivid testimony of the impressive performance style of the manaschi who performed at the celebration. Following the storytelling of the manaschi, the writer noted not only the captivating power of the poetic word but also the theatricality of the performance, "the movements of the hands and head, with extraordinary expressiveness emphasizing the words of the tale." A vivid testimony of bright theatricality is represented by the art of the greatest contemporary manaschi of the Kyrgyz people, Sayakbay Karalaev.

The famous Kyrgyz writer Chingiz Aitmatov in his article about S. Karalaev speaks with admiration of his extraordinary acting talent: "When you look at Karalaev, at the plasticity of his face, gestures, the expression of his eyes, when you listen to this person, who possesses an exceptional gift of artistic transformation, it seems that he himself is a personification of the epic essence...

The performance style of Karalaev is full of emotional intensity: rhythm, passion, inspiration — and alongside it, sadness, grief, experiences, tears — and alongside it, courage, determination, bravery..."

Whatever the manaschi tells, he strives to depict and act it all out. And even without knowing the Kyrgyz language, one can understand what is being talked about.

The art of akyns-komuzists is equally expressive. Not limiting themselves to playing or singing, they resort, like manaschi, to mimetic and playful means, which are close in nature to pantomime. This was noted by A. V. Zataevich, who was one of the first to record the musical improvisations of Toktogul Satylganov, Murataly Kurunkeev, Karamoldo Orozov, and many other akyns.

A very notable figure in the Kyrgyz environment in the past was the bakshi. This was the name for a healer, shaman.

However, bakshi often also performed the duties of singers and musicians. Adorned with rattling objects, they arranged pantomimic "dances," while holding a komuz or kyak and shouting the words of some song.

The bakshi did not limit himself to incantations against "evil spirits" — over time, he became an almost indispensable participant in various celebrations, playing the role of a peculiar entertainer, capable of depicting any animal and masterfully imitating the singing of birds.

To a great extent, the art of mimicry and transformation was possessed by the folk comedians (el kuuduldary). They were true actors, masters of all trades. Often, the object of their depiction was a local bay or khan. The kuudul, who mocked the rich and nobility, was a favorite of the common people.

Of course, no one would claim that folk games, the art of manaschi, akyns, or kuuduls possess distinctly expressed elements of dance. But it is undeniable that their theatricality, the innate inclination of the people towards rhythm and plasticity helped Kyrgyz artists create national dances and ballet.

The history of the development of Kyrgyz ballet