Матти Кархулахти, кандидат, Тарих, Мәдәният һәм сәнгать мәктәбе, Турку университеты (Финляндия) Мишель Биасутти, кандидат, доцент, эксперименталь педагогика, Падуа университеты (Италия). Матти Кархулахти, кандидат, Тарих, Мәдәният һәм сәнгать мәктәбе, Турку университеты (Финляндия) Мишель Биасутти, кандидат, доцент, эксперименталь педагогика, Падуа университеты (Италия). Шулай итеп, мәдәни һәм милли үзенчәлек традицияләр һәм хәзерге заман проблемалары белән бәйләнгән кебек.
Contemporary Kazakh Crafts in the Focus of Ethnosymbolism: Methodological Aspects.” Central Asian Journal of Art Studies, vol.
CONTEMPORARY KAZAKH CRAFTS IN THE FOCUS
The issues of studying symbolism and symbolic creativity in contemporary Kazakh craft art have actualized the methodological potential of Anthony Smith's ethnosymbolic concept. Based on the researcher's belief that national traditions are based on a set of stable ethno-cultural symbols that ensure their longevity and vitality, contemporary Kazakh craft can be studied in terms of national identity. Pierre Bourdieu's theory of social analysis on the two-structure society, consisting of production practices and "symbolic matrices" involved in sociogenesis, allows us to use its principles as a methodological approach to the study of traditional crafts and their modern forms in terms of issues of cultural identity, modernization of the past, revival of traditional experience, etc.
The analysis of some trends in contemporary Kazakh craft has shown that the pursuit of identity according to a cultural “pattern” is focused on established ethno-cultural symbols.
OF ETHNO-SYMBOLISM
Issues of the study of trends in modern Kazakh craft art in terms of theoretical and methodological aspects of the issue of cultural identity are important. The subject area of the study identified issues of cultural identity developed in terms of methodological validation of principles. The study of the structure of the ornamental space of the traditional carpet, the semantics of the ornamental composition leads the author to the conclusion that they embody.
The Artistic Felt of the Kazakhs” (8) is devoted to the analysis of the language and description of the nightmare of the Kazakhs. The yurt as a model for the universe and the symbolic space in a traditional dwelling is the subject of many scientific studies. Similarly, the study of craft, which is by its nature a phenomenon of "social genesis", whose structures presuppose direct actions and representations fixed in the symbolic language of a particular people's culture.
Researchers believe that it is also one of the most valuable provisions of Anthony Smith's concept. In the formation of modern handicraft art, ancient symbols are actualized as key structures of the cultural code of the worldview of Kazakhs - the descendants of the horse-nomadic civilization. A new semiotic attitude towards traditional symbolism finds its expression in branding, which is dominated by the performativity of national identity, which is based on established interpretations of the Kazakh and common Turkic mytho-symbolic complex.
Omarova – design of the study, formulation of the problem and development of the study methodology, text-theoretical part and work with foreign sources. National traditions of the 21st century: Problems of preservation and translation of Kazakh traditional music. Auez Institute of Literature and Art of the Academy of Sciences of the Kazakh SSR, doctoral dissertation.
National traditions in the 21st century: problems of preservation and translation of Kazakh traditional music”.
МУГАМ
КАК КОНЦЕПТУАЛЬНАЯ ОСЬ ПРОЦЕССА
ВОЗРОЖДЕНИЯ И РАЗВИТИЯ
КУЛЬТУРНОГО НАСЛЕДИЯ АЗЕРБАЙДЖАНА
On the parallels between the worldview of the ancient East and theoretical physics." Central Asian Journal of Art Studies, vol. Prepodavaniye sovremennoy filosofii: metodoloqiya teoriya I praktika.” [The problem of Mugham at the intersection of the Humanities and the exact sciences. THE MUGHAM AS A CONCEPTUAL AXIS OF THE PROCESS OF REVIVAL AND DEVELOPMENT OF AZERBAIJAN'S CULTURAL HERITAGE.
Based on the nature of the article, the main research methods are hermeneutic, cognitive and also phenomenological methods. The perspective of the study of the mugham problem, indicated in the title, is significant not only for its preservation and development as a valuable layer of world musical culture. The stated judgments are based on logical proof of the specificity and importance of intuitive spirituality.
There is a covered area of the essence of difference in the semantic load of the formula “death – life”. The Mugham as a conceptual axis of the process of revival and development of Azerbaijan's cultural heritage.” Central Asian Journal of Art Studies, vol. Farkhadova – Doctor of Arts, Professor, Head of the Department of Mugham Studies, Institute of Architecture and Art of the National Academy of Sciences of Azerbaijan (Baku, Azerbaijan).
The methodological basis for the study of issues related to the creation of dance works in the genre of small forms is a systematic approach to the question of the modern Kazakh choreographic stylistic features. At the current stage of the national choreography development, the most landmark and significant productions are the innovative ones of Mukaram Avakhri (Astana Ballet Theatre), Gulzhan Tutkibayeva (Abai Kazakh National Theater Opera and Ballet).
SMALL FORMS
Objective requirements for the production process, the interaction of classical ballet and national traditions require new approaches for creating dance projects in the small form genre. The aim is to explore the most significant creative projects of domestic choreographers in the context of the relationship between traditions and innovation in order to determine the most correct solutions to issues of national and supranational choreography under domestic direction. The objectives are to consider the peculiarities of the development of small choreographic forms in the national style, to identify the main trends in their development in the productions of Kazakh choreographers and on this basis to reveal the relationship and interaction between national content and supranational stage embodiment .
The main methods used in the study were synthesis methods of choreographic art, national dance interpretations and principles of directing technique in creating small forms. The analysis of their interpretation of traditional forms of dance led to the conclusion that Kazakhstan created its own national directing style in the creation of choreographic works of small forms. In the discussion block, the main result of the comparative analysis of the creative projects of leading domestic choreographers was the identification of the most important methods and techniques of their work in creating highly artistic projects in the field of choreography as a multi-level, multi-component and developing art.
In the context of increasing competition between Kazakh theaters and creative groups working in the style of national choreography, the introduction of modern methods and principles into the directing process becomes especially important.
OF CONTEMPORARY CHOREOGRAPHY
DIRECTING OF KAZAKHSTAN
NATIONAL CONTENT AND SUPRANATIONAL
It is an important component of the chain of continuous development, consideration of the national cultural heritage. The best cultural traditions of the Kazakh people should become a prerequisite, an important condition for further success. One such trend was the predominance of the genre of small forms in the works of young choreographers of Kazakhstan.
For the modern choreographer, one of the most important tasks is to transform and update the dance language style, acting in the symbiosis of national, classical. Karzhaubayeva, the light score is one of the most important elements of the means in the search for the stage language. Depending on the list of participants, the choreographer offers clear, contrasting development opportunities.
The creation and release of the one-act ballet Zhussan was served by the creative. So, the issue of stage interpretation of the national dance culture of the Kazakh people is dealt with in detail in the thesis for the PhD degree in A. Directorial interpretation of Kazakh dance in the Kazakh choreographic art of the end of the 20th and the beginning of the 21st century ” (151).
During the study of the peculiarities of modern Kazakh scenography in the small genre, the works of various authors were studied and analyzed. In this regard, the analysis of general trends in the development of modern directing directions in Russian choreography is objectively justified, which contributes. The director's interpretation of Kazakh dance in the choreographic art of Kazakhstan at the end of the 20th century.
Bakirova – M.A., 3rd year PhD student, Education Department of the Choreography Faculty, Kazakh National Choreography Academy (Nur-Sultan, Kazakhstan).
ХОРЕОГРАФИЧЕСКОЕ ВОПЛОЩЕНИЕ КЮЯ
В ПОЭТИКЕ СТИЛЯ
БУРАН БЕЛЬ» D
Konil tolkynyn terbetken.” [“Soothing the Existence of the Soul.”] Astana Akshamy, March 4, 2021, www.astana-akshamy.kz/kongil-tolqynyn-terbetken/. Konil tolkyny’ – auyr kaigydan tugan kyui.” [“The existence of the soul – Kyui, which gave rise to sorrow.”] Massaget, www.massaget.kz/layfstayl/madeniet/. The synthesis of music and choreography is one of the most fertile grounds for creating supranational works.
Evidence is Damir Urazymbetov's choreographic composition The Existence of the Soul, considered in the article on Seken Turysbek's kyui music, which essentially has an eternal, supranational theme at its core. The instrumental and choreographic composition of the existence of the soul is an example of the generation of innovative artistic ideas in the paradigm of the synthesis of classical choreography and Kazakh dance. The fullness of poses and phrases typical of classical dance in the composition Existence of the soul is refracted in the bending of the body and the abundance of trembling and more plastic movements of the arms and hands.
Therefore, it can be assumed that the dance is a harbinger of the new style Buran Bel in the culture of Kazakh dance, partly authentic, partly supranational. The production The Soul Existence was shown on various stages in Almaty, Saint Petersburg, Berlin and New Delhi. Competitiveness on world stages testifies to an equal dialogue between Kazakh dance culture and alternative choreographies from other countries.
Key words: soul existence, kyui, Seken Turysbek, Damir Urazymbetov, Togzhan Moldalim, Kazakh dance, transnational dance. Togzhan Moldalim in “The Soul Existence” on October 23, 2019 at the Aurora Concert Hall in St. Petersburg, Russia.
