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11CULTUROLOGy
"ORTECE" AS A GENRE OF SYNCRETIC ART OF THE NOMBERY PEOPLE OF CENTRAL ASIA
Omarova G.
Doctor of Arts,
scientific director of the grant project of the Ministry of Education and Science of the Republic of Kazakhstan, academic professor (Kazakh National Academy of Arts named after T.Zhurgenov), Almaty,
Kazakhstan
Abstract
In the research of traditional music of Central Asia peoples the author applies widely known methods of modern ethnomusicology (M. Schneider, A. Merriam, Z. Nadel, E. Shtockmann, N. Menon, B. Nettle, A. Cheka-novska, I. Zemtsovsky, A. Danielou, A. Mukhambetova, etc.). Through the genre of instrumental music of Kazakhs - orteke kui such important quality of traditional music as syncretism reveals. Amazing integrity of material and spiritual life of the society, integrity of human world and world of animals in the art of nomadic people witness the indivisibility and mythology of their consciousness. In the legends of orteke kuis the ancient perceptions and beliefs of Kazakhs were reflected and in its performing we can see the synthesis of different types of art (musical, puppet-dance, art and craft).
Keywords: traditional culture of Nomads, syncretism, Kazakh kuis orteke, shamanism, hunting legends, ritual-magic rites
In the last decades we can see the great interest in traditional culture and art of Central Asia peoples. It seems to be natural: in the culture of nomads we can feel special sacrality and purity whichare possible due to the closeness of human to the Nature. This closeness is free from intervention of religion, prophets, scriptures, canons, ministers and other things that sufficiently discredit the original, natural human faith in the Maker (God). Popular pantheism in the culture of Central Asia nomads is brightly represented in the system of traditional world view called Tengriism. Tengriism which gives more or less systematic representation of nomadic world model let us treat specially such phenomenon of culture as syncretism.
What is orteke, what is the genesis of this genre? Now, it is hard for us to say how it wasoriginated, when it formatted in the spectacular genre of musical and partly the puppet-theatre art. But the fact that beginnings of orteke go back to the high antiquity and related to early-nomadic and hunting mode of life of the Central Asia peoples is undisputable. In this genre, in conjoint view, elements of at least several types of art represented: folklore and musical-instrumental, dancing and game style, theatrical-spectacular and, of course, arts and crafts. Organic synthesis of the elements of different arts can be experienced by listening and contemplating this "mini-performance". If we look at it deeply we can see that orteke is connected with important world view constants of culture, with so called "world view syncretism"(SabetkazyAkatay's term [1]) of not only Kazakhs but the whole Central Asian nomadic peoples.
Syncretism acts in nomadic culture not as a sign of underdevelopment and generality, which are peculiar to earlier forms of life and art, but as a consequence of "everlasting" unity and fusion of human being, Nature and Cosmos, what in its turn gives birth to the total unity of material and spiritual life of nomadic society. Researchers note the indivisibility, lack of differentiation, close interconnection of different sides and
spheres of nomadic life - production and economics, scientific-cognitive, socio-political, ideological, religion-philosophical, ritual-magical (mythological) and artistic. From this point of view it is possible to consider such genre of traditional art of Kazakhs as orteke, which gives special idea of syncretism and images of animals in the art of Central Asia nomads.
Images of animals take important place in arts and crafts and musical-poetical art of Kazakhs. Let us start with the fact that orteke, i.e. teke (a goat) as well as koshkar (a sheep) were one of the totemic animals of nomads of European steppe zone. Thus, E.Tursunov in his monograph "Genesis of Kazakh domestic tales" referring to the scientists in area of petroglyphs and ethnography says: "It is appropriate to note that among the rock paintings coming from primitive times and discovered on the territory occupied by Turk-Mongolian peoples, the image of a goat-teke perhaps is the most spread. There is no doubt in the totemic basis of the name teke of tribes of Turkmens and Turks and teke-family of Kazakhs. Yakut familyherdyk is also descended from teke."[6, p.48]. Also in this research it is noted that relicts of kohskar and teke cults were preserved in shamanic ritual and mythology of Siberian Turks and Mongols. Thus, if shamanic cloaks of Kha-kases were made ofsheep skin, Tuba-kinzhi and Tuvan cloaks were made of "the skin of wild goat-teke, the same skin was used in making of shamanic beater and inside the drum Tuvans used to draw a man, sitting on teke. Tuva believers used to devote to a fire an animal in the past, which could be only a yellow castrated goat."[6, p.48-49].
The offering of the goat or drinking his blood while utteringoaths can be seen among Buryats. Along with it, in the Buryat mythology we can see features of goat worship not only as sacrifice animal, but also as a symbol of fertility, embodying masculinity. Thus, in one of the G.N.Potatin's legends it says: one of the daughters of eastern Tengri Hurmus miraculously gave birth to three children, left them on a shore, created a
goat and ordered from now on the goat to be sacrificed to her and her children" [5]. It is well known that further in the mythology of saks teke in this position, i.e. as "male fertility stimulant" (A.Akyshev), took the important place in cosmologic system of sak tribes. Thus, A.Akishev noting the connection of goat with cult of mountains, cycle of "tree" and fertility, says: "Image of a goat is one of the elements of structure of world tree - the Tree of life and it is logical to consider it as a mediator and a symbol of middle(connecting) world..."[2, p.36].
Special attention should be paid on music in orteke. The "dance" itself was born by instrumental music - kui-legends with suitable rhythmical organization. Kazakh and Kyrguzkuis (ku) are an instrumental genres, expressing and transmitting certain spiritual and emotional state of a human, his mood and spiritual experiences. In the Kazakh musicology kui is deeply researched as syncretic genre, i.e. instrumental samples itself in their traditional performing show in culture the unity of music and a word, which play a big role in program, imagery, semantics, compositional peculiarities of the genre [4]. In the semantics and structure of instrumental music it is possible to feel the connection with poetic genres (spells of shamans-baksy, epic poetry, song), as well as ancient narrative genres (myth, legend, memorate, storytelling - angime). By and large, syncretism in kui reflects syncretic nature of music existing, sphere that was indivisible from a ritual - in ancient times and in latest times from the mode of life (guest ritual) and conversation. In the context of last said kui is a communicative act, in which a verbal text (a "legend") plays the role of primary emotional-energetic push in music perceiving.
As it is known, forms of kui performing, depending on correlation of music and story, were different. The earliest was, perhaps, musical-illustrative form of kui performing, when the story alternated with playing musical instruments, i.e. music illustrated a text. In ancient kuis and kui-legends (anyz kyi) musical episodes sometimes had audio-visual character: they transferred different sounds of nature, voices, walk (flight) of animals and birds, hoofbeats, human cry, speech, etc. This tradition goes back to the magical role of music in hunting, shamanic rites and rituals (call, propitiate the spirits of nature, ancestral spirits).
In the orteke genre we believe the important thing is the context of hunting legends of nomadic people. We can make such conclusion, firs of all, because one of the most ancient origins of dances are magical rites, devoted to cults of hunting, totemic animals, where beginning elements of dances presented, pantomime, rhythmic movement (imitation of animals, image of habits of animals before hunting, etc). That is, the art of dancing goes back to primarily the dances of ceremonial and ritual significance - the imitational and magical acts and shamanic mysteries (rock-paintings can prove that).
Second of all, one of the dombrakuis "Orteke" in perfect five (in this system usuallykuis performed) accompanied by following hunting legend: "Once in mountains there lived a hunter Kulamergen with his mother. Many of mountain goats tau teke were killed
by him. Once to his mother in a dream kiecame - the spirit of tau teke in the shape of a girl: "Why your son shoots us with no reason? By Tengri's order, a man should not take more than he needs(for food) from nature. Kulamergen's bucket with blood is fool - one more drop and the curse of heaven will follow." But despite his mother's warning Kulamergen who hunted tau teke not only because of the meat, but because of their skin went on hunting again. The day was gloomy, the hunter did not meet any animals. When tired Kulamergen began to kindle a fire, suddenly a tau teke with unusual white-and-gold color and snow-white horns appeared in front of him. Kulamergen immediately drew the bow and shot the goat. Cutting the carcasshe put the meat in the pot, and after salting the animal's skin he lay down to rest. But soon the hunter was awakened by some noise and saw the same tau teke in front of him, alive and unharmed. After circling three times around Ku-lamergen tau teke jumped over his head and disappeared... The next morning Kulamergen's horse came without his owner, his baked body his mother found in a hot well" (the legend was written and published according to the words of T.Asemkulova [3, p.72]).
Here we can see the echoes of hunting and astral myths(let us remember the legends of hunters, turned into constellation for breaking taboos), and also ancient representations of kie (sacred natural forces and elements), and their punitive force, which called in Kazakh tradition - kesir. In this connection the problem of etymology of the "orteke" word and in particular or arise. In dictionaries this word, in this case prefix, has two semantic translations and meanings: first is dark-red color, second is except hole, ditch and ravine, also trap and grave (in the figurative sense - bireuge or kazba, i.e. - do not dig a hole to another...).
For the orteke genre both meanings are acceptable. Usually dancing animals are painted in exact dark-red or dark-brown color (unfortunately, we cannot say anything about the symbolism of this color), and teke or other ungulates no less sacred kiely animals (it can be kyik - a chamois, tuye - a camel) seem to be got in a hole, trapped: they get up to the music, then fall in turn on front or rear paws, as if their trying to get up. The orteke dance is more like dance of lame or wounded animal. Not without the reason, famous Kyrmangazy's kui "Aksak kyik"("Lame antelope") sometimes performed with orteke. In the legend of this kui it says about deep regret of kui-performer that he once shot an antelope "on a bet". According to the legend, dzhigits from adai family daring Kyrmangazy told him to shot animal's leg, and in the heat of passion, proving his skills, his accuracy, kui-performer wounded the animal right in the spot. Its limping walks Kyrmangazy portrayed through rhythms and strokes of kui; in his melody sorrow and regret are reflected...
We can call orteke the masterpiece of arts and craft: expressive figure of teke seems to be alive and this effect was achieved by very ingenious structure. The mechanism of orteke, as a dancing toy, consist of a wooden disk ("stage") on which orteke is set, and a metal rod mounted in this disk. On the upper end of this rod the figure of an animal is set, on the lower - under the circle, there is a fishing line. A performer fastens
this line on his finger and when his hand does regular rhythmic up-and-down moves, the figure starts to move too. Mobility of all the "joints" of orteke is provided by hanged on lines lower parts of legs and upper parts -neck and head.
According to our observations, "Orteke" kuis are often perfectfive kuis of the eastern regions of Kazakhstan, performed by stroke "karakagys" (hurtle) and kuis with regular rhythm in traditions of tokpe of western Kazakhstan. Thus, for instance, kui-performer of nineteenth century from Mangystau Esbay has kui called "Orteke" the legend of which unfortunately did not preserve.
In our article we tried to discover the syncretic essence of orteke genre and its semantics. Syncretism as one of the features of integrity of nomadic lifestyle points on the total integrity of all the sides of material-productive and spiritual life of the society. Laws of nature, social life and art were achieved here not only through practice, ensuring the vital needs of human, but also through art, mythology and rites. Syncretism of all the areas of life of nomadic society as syncretism in consciousness of their members does not let us separate realityfrom mythology, material from spiritual, practical-household from over-household (art), logical-rational from sensitive-emotional. For example, the origins of art we can find in traditional rites and rituals, which are certainly connected with productive and practical activities of people. On the other hand, ritual is connected with theory and practice of mythology(sa-cral sphere), with ideology and philosophy, politics and authority, which provides, at good managing, material and spiritual integrity, health and well-being of a tribe(ethnos).
In the art studies there are no works on system of arts of nomadic society (in particular - Kazakh traditional culture). However, the origins of all the systems of connections in the art of this society, according to the
latest researches, lay in the traditional ritual-magical practice, on which all of its worldview based. Such conclusion can be made as a result of studying by Kazakh scientist two major areas of art - art and crafts and mu-sical-poetical(sphere of folklore, literature and music) with diversity of their kinds and genres.
However, in forming of the arts and crafts certain role was played by Islam with its prohibition on portraying alive creatures (gradual stylization and schema-tization of images occurs, symbolic values of these images strengthen), practically all of the ornamental patterns were "readable" in specific manner and were connected with cosmogony, worldview, ancient beliefs and rites of Kazakhs. With these ancient beliefs (totemism, Tengriism, shamanism, ancestor worship) and ritual-magical rites folklore, verbal-poetic and musical art of Kazakh people were connected.
References
1. Akataev S.N. Worldview syncretism of Kazakhs. Monograph. - Almaty, 1994.
2. Akishev A. Art and mythology of the Saks. -Almaty, 1984.
3. Esenovich A., Eleusizovna G. Kui caravan. -Almaty: Ulke, 1997.
4. Mukhambetova A.I. Kazakh kyu (essays on history, theory, aesthetics). - Almaty: Dyke Press, 2002.
5. Essays on Western Mongolia, Issue 4. St. Petersburg., 1883. Cit. by: Tursunov E.D. Genesis of the Kazakh household fairy tale (in the aspect of communication with primitive folklore). - Alma-Ata: Publishing House "Science" Kaz.SSR, 1973. - P.50.
6. Tursunov E.D. The genesis of the Kazakh household fairy tale (in the aspect of communication with primitive folklore). - Alma-Ata: Publishing House "Science" Kaz.SSR, 1973.
1СИХАСТСЬК1 ТРАДИЦП В ДУХОВНИХ П1СНЕСП1ВАХ KHÏBCbKOÏ РУС1
Сапожнж О.В.
кандидат педагоггчних наук, доцент, докторант Нац1онально'1 академИ кергвних кадргв культури i мистецтв, м. Кигв
ORCID 0000-0003-3510-5817
HESYCHASM TRADITIONS IN SPIRITUAL SONGS OF KYIVAN RUS
Sapozhnik O.
PhD Pedagogical sciences, Associate Professor, PhD student of the National Academy of Managerial Staff of Culture and Arts, Kiyv
Анотащя
Розглядаеться вплив юихастських традицш духовно! культури на церковш шснесшви Bi3aHrii та Кшвсько! Pyci в !х культурно--юторичнш спадковосп i самобутностг Визначено, що за допомогою церков-них пiснеспiвiв музична культура Кшвсько! Руа стала уособленням релшйно-естетичних iдеалiв та мен-тально-свггоглядних установок схщного християнства в його давньоруськш формг 1сихастсьш традици в духовних шснесшвах вплинули на процеси нацюнально! щентифжацп та наклали характерний ввдбиток на етнонацюнальну ментальшсть та духовну культуру Руа-Украши упродовж вЫв.
Abstract
The influence of the hesychast traditions of spiritual culture on the church songs of Byzantine and Kyivan Rus in their cultural and historical heredity and originality is considered. It is determined that with the help of
