Comparison of Cases and Conclusion: Toward a Crimean Tatar Transnational Nation?

2021 ◽  
pp. 281-297
Author(s):  
Filiz Tutku Aydın
Keyword(s):  
Crimean Tatar

scholarly journals The Transformation of the Crimean Tatars’ Institutions and Discourses After 2014

2019 ◽  
Vol 13 (1) ◽  
pp. 44-66
Author(s):  
Elmira Muratova
Keyword(s):  
Social Media ◽  
Content Analysis ◽  
Discourse Analysis ◽  
Balance Of Power ◽  
The Political ◽  
Great Support ◽  
The Face ◽  
Traditional Institutions ◽  
New Institutions ◽  
Crimean Tatar

Abstract The article deals with the transformation of the Crimean Tatars’ institutions and discourses after the 2014 conflict around Crimea. It shows the change in the balance of power of traditional institutions such as Mejlis and Muftiyat, which for many years represented secular and religious components of Crimean Tatars’ ethnic identity. It tells how the Mejlis was dismissed from the political stage in Crimea, while the Muftiyat has enjoyed a great support by new authorities. This transformation and threats to societal security inevitably led to reassessment of previous views and goals of the main actors in the Crimean Tatar community and the formation of new institutions with hybrid composition and discourse. The article focuses on organization such as ‘Crimean solidarity,’ which was formed in 2016 as a reaction to authorities’ pressure over the Crimean Tatars. Using discourse analysis of statements of activists of this organization and content analysis of social media, the author presents the main topics of its discourse and types of activity. She shows how the traditional Islamic discourse of activists of this organization has been transformed by the incorporation of the main concepts of secular discourse developed by the Mejlis. The author argues that the appearance of ‘Crimean solidarity’ indicates the blurring of lines between secular and religious, and ethnic and Islamic in the Crimean Tatar society. It shows how people with different backgrounds and agendas manage to leave their differences aside to support each other in the face of a common threat.

scholarly journals Интерпретации «Хайтармы» А. Спендиаряна в творчестве современных исполнителей республики Татарстан

2021 ◽  
pp. 44-51
Author(s):  
Лилия Бородовская
Keyword(s):  
Folk Music ◽  
Chamber Orchestra ◽  
Folk Dance ◽  
Professional Musicians ◽  
Historical Information ◽  
Wide Range ◽  
Musical Arrangements ◽  
Crimean Tatar

This article presents two musical arrangements of "Haytarma" from A. Spendiaryan's suite "Crimean Sketches" (part 1), performed by Kazan musicians and composers - R.E. Ilyasov for the "Kazan Nury" folk instrument orchestra and R.Yu. Abyazov for the "La Primavera" string chamber orchestra. A brief historical information about the work of A. Spendiaryan connected with the Crimean Tatar music is given. Also presented is material about the peculiarities of the Crimean Tatar folk dance "haitarma", about its different musical variants. This work will be useful to a wide range of professional musicians, as well as researchers of the Crimean Tatar folk music.

scholarly journals Semantic parallels of archaic Crimean Tatar musical terminology with the musical vocabulary of “Divan Lugat at-Turk” by Mahmud al-Kashgari in the context of the Turkic musical culture of the early Middle Ages

2020 ◽  
pp. 97-123
Author(s):  
Ismet A. Zaatov ◽  
Keyword(s):  
Ethnic Groups ◽  
Middle Ages ◽  
Direct Connection ◽  
Lexical Analysis ◽  
Musical Culture ◽  
Early Middle Ages ◽  
Cultural Genesis ◽  
Crimean Tatar

The process of the formation of the Crimean Tatar musical culture can be divided into post-Byzantine-Golden Horde, Tatar-Seljuk and Nogai Kypchak (Nogai) – Ottoman periods of the cultural genesis of the Crimean Tatar people. The fact that the ancestors of the steppe Crimean Tatars are the Turkic tribes of the Kypchaks and the ancestors of the southern coastal Crimean Tatars are the Turkic tribes of the Oghuz, from the earliest centuries of their history were ethnic groups with a developed musical culture, written evidence from ancient Turkic authors and, in particular, the dictionary “Divan Lugat ata” – Turk “Mahmud al-Kashgari”. This article attempts to determine, based on the lexical analysis of the text of the vocabulary, the direct connection between the semantics of musical terminology in the language of modern Crimean Tatars with the semantics of the musical vocabulary of their Oguz and Kipchak ancestors, as well as identifying patterns of Oguz and Kipchak musical vocabulary in lexicon of the Crimean Tatars by the time of Mahmud Al-Kashgari has written his creation.

Crimean Tatar Communities Abroad

1998 ◽  
pp. 323-351
Author(s):  
NERMIN EREN
Keyword(s):  
Crimean Tatar

Overhearing Indigenous Silence

2019 ◽  
pp. 88-102 ◽  
Author(s):  
Maria Sonevytsky
Keyword(s):  
Crimean War ◽  
Historical Sources ◽  
Musical Memory ◽  
Crimean Tatar

Sonevytsky’s chapter considers the noteworthy lack of historical sources pertaining to Crimean Tatar experiences of the War. It attempts, through analysis of what remains in sonic form, to recover experiences that have largely disappeared from cultural archives through a method of “overhearing” Crimean Tatars in outsider accounts. The chapter examines one British account of the Crimean War, and one Crimean Tatar “émigré song” anthologized by Soviet ethnographers. A closing section discusses Russia’s present-day annexation of Crimea and contemporary efforts to use musical memory as a means of political resilience.

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