The greatest representative of the akyn art of the first half of the 20th century was Toktogul Satylganov (1864—1933), who raised a whole generation of professional akyns and created his own school.
Zhenizhok Kokoев (real name Oto, 1860 — 1918) — an outstanding akyn of the turn of the 19th and 20th centuries, whose legacy has only begun to be seriously studied in recent years. He was born in the Sary-Kobon area, now part of the Manas district in the Talas region, to a poor family. After losing his parents at an early age, Zhenizhok was forced to leave his homeland and move to the village of Kara-Suu in the Aksy district of the Jalal-Abad region. As a teenager, he sang famous dastans such
The great akyn-thinker of the past century Arstanbek Buylashov (1840 — 1882) — akyn, komuz player, a bright representative of the artistic movement "zaman" (literally, "time, era"). He was born in the mountainous region of Syrt, now in the Jety-Oguz district of the Issyk-Kul region, to the younger wife of the bey Buylash. From childhood, he showed musical abilities, learning songs and tales from adults.
Identifying the ethnic specificity of etiquette is a rather complex task, for which a large number of source materials have been collected and analyzed. The results of this research allow us to assert that Kyrgyz etiquette represents a set of universal rules of communication and norms of behavior that have arisen based on universal moral and ethical needs, and that correspond to notions of morality and humanism. The main findings of the research are reflected in the following conclusions: 1.
Understanding the culture of a people is impossible without knowledge of the behavioral rules accepted in society. The term "ethno-etiquette" encompasses a complex of concepts related to a variety of ideological and cultural-historical factors and phenomena. As noted earlier, the study of the peculiarities of Kyrgyz etiquette utilized information from various sources: ethnographic, linguistic, folkloric, and literary. Valuable materials for this research included the Quran, the epic
SEKALIEV Zhanibek Musakulovich
Dialogical Akyn Genres — a professional artistic form of song and poetic competitions with the general name kayym, widely spread among the people. The youth song genres "kız-jigit," "akıynek," and friendly song and poetic tournaments "sarmerden," among others, are built on the type of competitive dialogue.
In solo genres, the akyn sings or recites their own or borrowed text, accompanying themselves on the komuz or kyl kyak. In these genres, akyns of various levels and styles perform, and it serves as a specific school for novice akyns to refine their performance style. Furthermore, solo genres of akyn creativity allow the author to concentrate the listeners' attention on what personally concerns them, showcasing their creative individuality.
Akyn Creativity is a unique layer of Kyrgyz song tradition. Its significance is determined by the diverse functions performed by the carriers of this remarkable form of folk artistic creativity within national culture. The activities of akyns are the best indicator of a careful attitude toward cultural heritage. This is a living and timeless art that contains a powerful intellectual force.
The fates of the two branches of epic folklore studies are different: while the study of Manas began in the last century, the study of the small epic started much later.
The small epic encompasses a total of about 30 separate dastans and poems. While it significantly lags behind the large epic in overall volume, it surpasses it in the richness of themes, plots, and musical arrangements.
Storytellers - Manaschy The great epic owes its thousand-year existence and development to the storytellers - Manaschy. Manaschy is a folk professional artist who possesses the poetic and musical mastery of orally conveying the content of the epic. The word “manaschy” is relatively new, arising in connection with the study of the great epic.
Urkash Mambetaliev (born 1934) is a soloist-manaschi of the Kyrgyz State Philharmonic named after Toktogul (since 1961), a member of the Union of Writers of Kyrgyzstan (1982), and a People's Artist of the Kyrgyz Republic (1994).
People's Artist of the Kyrgyz Republic Shaabay Azizov (born 1927) inherited the storytelling tradition from his father, as well as from his uncle — the famous Issyk-Kul manaschy Choyuke. He also considers his fellow countryman Sayakbay Karalaev, with whom he had close communication, as a teacher. He lives in the village of Uch-Kainar in the Ak-Suu district of the Issyk-Kul region and is actively engaged in creative activities: he sings for recordings, performs at the invitation of
Kaba Atabekov (born 1926) is one of the prominent representatives of contemporary storytelling culture and a People's Artist of Kyrgyzstan. He was born in the village of Tort-Kul in the Ton district of the Issyk-Kul region. He began singing "Manas" at the age of ten. He associates the beginning of his storytelling career with a prophetic dream in which a noble old horseman strictly instructed him to recite the epic.
Seydene Moldoke kyzy (born 1922) — an outstanding storyteller, one of the few women-manaschis. She was born in the village of Kotoromo in the Toktogul district of the Jalal-Abad region. She associates the beginning of her storytelling career with a famous prophetic dream in which the great akyn Toktogul appeared to her, followed by the hero Semetey himself. Since the mid-1950s, Seydene has been invited to Frunze to participate in competitions and reviews of folk art and for recording.
Jusup Mamai (born 1918) — the largest representative of the art of akyns and manaschy abroad, a storyteller-writer. He was born in the village of Merkech in the Kyrgyz Autonomous Region of the People's Republic of China. Until 1959, he worked as a teacher, then began to study and narrate the epic.
Mambet Chokmorov (1896—1973) is one of the greatest storytellers of the eastern region. According to legend, he was also initiated into the manaschy by Manas himself, who appeared to him in a prophetic dream.
Moldobasan Musulmankulov (1883—1961), a talented storyteller, akyn, komuz player, and People's Artist of Kyrgyzstan (1935), was born in the village of Terek, now in the Ak-Talinsky district of Naryn region. The first influence on Musulmankulov's storytelling creativity was his brother Kaligul. With his help, Musulmankulov began to master playing the komuz and a large repertoire of folk songs.
Togolok Moldo (real name — Bayymbet Abdrakhmanov, 1860—1942) — an outstanding manaschi and akyn-writer.
The storytelling art of Sayakbay Karalaev (1894—1972), by unanimous recognition of his contemporaries, was the pinnacle of the evolution of national epic culture. This famous manaschy of our century possessed a truly titanic ability for improvisation and a powerful performing temperament. His contemporaries rightfully called him the "great rhapsodist" (M. Auezov), "Homer of the 20th century" (Ch. Aitmatov).
Sagymbay Orozbakov (1867—1930) was born in the village of Kabyrga, located on the northern shore of Lake Issyk-Kul, in a family of a musician-surnaychi. His father, Orozbak, served the khan of Issyk-Kul, Ormon. At the age of nine, Sagymbay began to learn Arabic script under the guidance of an Uzbek mullah, as well as to sing and compose. He became fascinated with the epic "Manas" at the age of fifteen after hearing performances by the famous manaschy of that time, Chonbasha, Tynybek
The so-called Great Epic is the main genre of the epic culture of the Kyrgyz people. The Great Epic, collectively titled "Manas," consists of several large parts named after the main heroes according to a genealogical principle. Each part is dedicated to the life and activities of representatives of one clan led by Manas.
The Kyrgyz epic is a professional form of oral folk musical and poetic creativity. In the epic, the richness of the people's worldview and artistic reflection of the surrounding reality is manifested more fully and vividly than in other genres. The epic captures global categories of social existence and consciousness: history, religion, material and artistic culture, and the mentality of the Kyrgyz.
Kyrgyz Folk and Mass Musical Creativity In Kyrgyz folk and mass musical creativity, songs about historical figures and events have hardly developed as an independent genre. History was widely covered in both large and small epics, but the images of legendary leaders and heroes were presented in a generalized-mythological manner. Real historical figures — such as khans Shabdan and Ormon, datkas Kurmanjan and Alymbek, heroes Balbai and Kozhomkul — more often became the subjects of akyn songs
NATALIA VASILIEVNA SARYMSAKOVA
SARIMSAKOV Belek Adykanovich
The theme of the first feature films about Kyrgyzstan, made before the war by Uzbek ("Covered Wagon," 1927) and Russian ("Aigul," 1936) filmmakers, is the slave-like, dependent position of women and their subsequent liberation.
Before 1917, there was no film production in Kyrgyzstan. To highlight the life of the peoples of Central Asia, the "Vostokkino" association was established, and the first film stories and films about Kyrgyzstan began to be released in the late 1920s. Cinematographers from Moscow came to the republic to shoot the life of the Kyrgyz people. The founder of Soviet geographical cinema, V. Shneiderov, filmed travel films "At the Foot of Death" (1928) and "At an Altitude of
The melodies of this genre group are differentiated into children's songs and songs for children. Some are created and performed by children themselves, while others are created by adults.
The Kyrgyz youth song genres include songs performed by young men (jigitter yrlary) and young women (kyzdar yrlary) aged approximately 14 to 25 years. This is the most dynamic layer of folklore culture, characterized by specific socio-psychological and artistic-aesthetic features determined by the age of the performers and listeners, the emotional mobility of their psyche, the optimism in their perception of the world, and the multifacetedness of their interests.
Sharshen Termechikov (1896—1942) — a popular comic-satirist, honored artist of the Kyrgyz SSR, belonged simultaneously to the worlds of theater and music. He was born in the village of Konok, now in the Sokuluk district of the Chuy region. In his youth, in the city of Pishpek, he met the famous kuudul Adamkaly, from whom he learned the basics of this unique art. Soon, while traveling through the ails, Sharshen was already generously sharing it with his listeners. Since 1931, he lived and
Geographical Society of the Kyrgyz Republic. Established in 1947. Since 1991 — Geographical Society of the Kyrgyz Republic. Main tasks: promotion of geographical knowledge, support for tourism and local history movements, editing of reference books and guides, consultation on geographical issues, organization of reports, discussion of methodological issues in geography, and more. It unites representatives of scientific, scientific-production, production institutions, schools, and universities,
Like all nations, the Kyrgyz have historically developed and still preserve traditional games and competitions. The development of physical culture and sports is connected, firstly, with the necessity to be ready for the defense of the Motherland, to stand out in bravery, agility, endurance, and strength; secondly, with livestock breeding and the nomadic lifestyle of the people. Therefore, competitions of heroes — balban kyurësh (belt wrestling of heroes), er sayysh (heroic combat on spears),
The first medical institutions in Kyrgyzstan appeared in the late 19th century: reception rooms in Pishpek with 6 beds, in Karakol with 6 beds, in Osh with 5 beds, and in Tokmok with 5 beds. Medical and obstetric points (FAP) operated in the villages of Pokrovka, Belovodskoye, and Sazanovka. The health status of the population was poor: smallpox was rampant, and epidemics of cholera, typhus, syphilis, tuberculosis, and childhood infections were ongoing.
The spiritual culture of the Kyrgyz people, expressed in the philosophical and poetic creativity of akyns, is characterized by a person's striving for happiness and the search for paths to perfection. The issues of nurturing morality, humanism, and compassion occupy a significant place in the philosophical poetry of Kyrgyz thinkers, and therefore it can be rightly considered a collection of moral and ethical norms of human behavior in Kyrgyz culture. A distinctive feature of Kyrgyz folk
The genres of song lyricism are richly represented in Kyrgyz folk art, being among the most widespread, developed, and popular. Despite the variety of content, these genres share many commonalities, which give them stylistic unity and emotional kinship. Often, the same melody—“obon”—“migrates” from one lyrical song to another and is performed with new lyrics. For instance, the tune of “Oh, dear girl” (“Oy, asyl kyz”) is almost exactly used in the songs “Tea” and “To the collective farm friend”
Salamat Sadakova (born 1956) is one of the contemporary professional folk singers, a People's Artist of Kyrgyzstan and Kazakhstan (1995), and a talented interpreter of lyrical repertoire. She was born in the Batken region of the Osh province. In the folk theater of the Kara-Buura district in the Talas region, she played several roles and performed in concerts with lyrical songs. This determined her choice of profession. In 1988, Sadakova was invited to the Kyrgyz State Philharmonic as a
Myskal Omurkanova (1915—1976) — an outstanding folk singer. She was born in the village of Epkin in the Jumgal district of the Naryn region. She began her artistic career in 1936 when she won first prize at the All-Kyrgyz Olympiad of Folk Art. When she joined the Naryn Regional Musical and Dramatic Theater in 1940, Myskal already had some performance experience in her native village of Chayek, in the so-called collective farm theater. Her rich, velvety voice, unique in timbre, range, and
Musa Bayetov (1902—1949) is the author of four dozen songs. The best of them are created in lyrical genres. Even in his youth, when Bayetov began his creative activity at the Naryn city radio station as a performer, he created the songs "Milaia" ("Zharoo-ker") and "Prosyipayus" ("Oygonom"). Later, as a soloist of the Kyrgyz State Philharmonic, he composed the famous songs "Mudraia" ("Daanishman") and "Uchilsia ya v stolitse"
Atay Ogonbaev (1900—1949) entered the history of Kyrgyz folk musical culture as a versatile musician, singer, komuz player, and author of beautiful lyrical songs. His best works are distinguished by their spirituality and exquisite style. Songs such as "Burned to Ashes" ("Kuydum chok"), "I Remember" ("Esimde"), "Youth" ("Zhashtar"), "Longing" ("Sagyńych"), "Flower" ("Gul"), "Oh,
In the system of water use and water consumption, intra-economic and inter-state water relations, the Law of the Kyrgyz Republic "On Water," adopted on January 14, 1994, with some amendments and additions made in 1995, has been approved and is in effect. Its main feature is that it established the payment for natural resource use rights, as well as for water supply services and for discharges of pollutants into water bodies and water management structures, within the established
Grain farming is one of the main sectors of agriculture. Economic difficulties in agriculture over the past few years have also affected grain farming. Agriculture has not been adequately supplied with machinery, and the number of tractors and grain harvesters has decreased. To develop grain farming, the use of mineral and organic fertilizers is necessary, which contributes to increased yields. Due to the worsening economic situation, most farms were unable to purchase the now expensive