scholarly journals Epic Heritage - The Gold Treasure

2021 ◽  
Vol 03 (06) ◽  
pp. 131-140
Author(s):  
Oltinoy Kosimovna Tadjibaeva ◽  
Keyword(s):  
Central Asia ◽  
Folk Art ◽  
Traditional Values ◽  
Common Pattern ◽  
The People ◽  
Dominant Feature ◽  
Artistic Representation ◽  
National Theater ◽  
The World ◽  
Theatrical Culture

The article discusses the role and importance of folk art heritage in the development of national theater art in Central Asia. To date, the theatrical art of the region has a great experience and it has the opportunity to compare its culture with others. Epic direction is one of the points of support, one of the heights from which you can look at the experience and trends of the world of theatrical art. (72) In folk epics, various elements of culture and spirituality are traced, and the peculiarities of a particular nationality are revealed. The entry of the European style of theater into the framework of the culture of Central Asia certainly influenced the development of traditional theater of the people. Creative figures faced the problem of showing their performances on closed stages, in rooms. In the pieces, folk customs are presented following a common pattern, whereas national theatres offer their own interpretation, reflecting the culture, customs, and the nation’s past. Not only essentially different pieces of the same title and subject, created by different nations, differ in style, methods, means of artistic representation and character interpretation, and never a hero of one nation is a repetition of the image created by the neighboring nation. This is how the nation’s mentality, culture, spiritual character, and traditional values are exposed. This, in turn, is a dominant feature in the evolution of theatres. Thus, the epic heritage serves as the golden treasure of the theatrical culture of Central Asia.

scholarly journals Echoes of the Turkic World and Folklore in the Holy Book Avesta

2020 ◽  
Vol 12 (4) ◽  
Author(s):  
Aktoty Nusipalikyzy ◽  
◽  
Maulenov Almasbek ◽  
Baigunakov Dosbol ◽  
Toty I. Koshenova ◽  
...  
Keyword(s):  
Central Asia ◽  
Folk Art ◽  
Main Task ◽  
The People ◽  
The World ◽  
History Of ◽  
Literature Culture ◽  
Relationship Of ◽  
Conceptual Overview ◽  
Holy Book

The holy book “Avesta” is one of the magnificent creations of the world, which contains valuable information about religion, literature, culture, geography, history and mythology of the ancient peoples of Central Asia. For several centuries, many scholars of various specialties have been interested in “Avesta”. In numerous comments they discussed the history of the appearance of the book and its hymns, the personality of Zarathustra, his homeland, geographical objects, historical characters and mythological images, the ideological basis of the collection of holy books, etc. Many of the above mentioned questions are still being discussed among specialists, causing and over-colouring certain problems. In their work, the authors tried to find something in common between the “Avesta” and the Kazakh literature, exploring the spiritual relationship of the “Avesta” with the mythology of the people. As practice shows, various phenomena in the folklore of the peoples of the world are experiencing their birth, formation, flourishing, decay and death. Forms are modified, disappear, replaced by others. But sometimes the most ancient layer of folk art is preserved as a relic. Sometimes it is very difficult to see the traces of the most ancient representations in national folklore. Therefore, the authors of the article analyzed the works of Kazakhstani authors who studied some points in the “Avesta” and they made only an attempt to investigate the remains of the Kazakh archetype in this ancient literary monument. This article, without claiming to completely cover the available material, sees the main task in providing a holistic conceptual overview of the Kazakh literature on the above mentioned problem.

scholarly journals АЛЬ-ФАРАБИ И МУЗЫКА (AL-FARABI AND MUSIC)

2020 ◽  
Author(s):  
Aigul Kosanova
Keyword(s):  
Central Asia ◽  
Middle Ages ◽  
Human Behavior ◽  
Early Middle Ages ◽  
Scientific Center ◽  
Scientific Heritage ◽  
The People ◽  
The World ◽  
City State ◽  
The City

Іn this article, the author examines the scientific heritage of the great thinker and philosopher of the East, Abu Nasir al Farabi. The contribution of the word is analysed. Abu Nasr Muhammad Ibn Tarkhan Ibn Uzlag al-Farabi (870-950) was born in the city of Farab (Otrar) on the territory of the modern South Kazakhstan region. In the early middle ages, Otrar was called Farab. The city of Otrar was the second major cultural, commercial, political and scientific center, the center of the ancient culture of Kazakhstan and Central Asia. The most famous of his scientific works is" treatise on the views of good citizens "("views of good citizens"). "The scientist divides the city leaders into "benevolent and ignorant". At that time, there was a city-state. When will its inhabitants be happy? According to the scientist, this depends on the mayors of the cities. If the mayor is educated, fair, and clean-minded, all citizens will be happy. And if the mayor of the city is ignorant and lies, then the people of the city will be unhappy. Al-Farabi says that in order to achieve true happiness, a person must constantly seek. Human behavior should also be good," Zhakypbek Altayevich says in the documentary "Al - Farabi-philosopher of civilization". In addition, Al-Farabi's work "the great treatise on music" has been translated into many languages of the world.

scholarly journals The Yurt is an ancient dwelling of Tuvans

2019 ◽  
Author(s):  
Любовь Шулуевна Шойдук
Keyword(s):  
Central Asia ◽  
Folk Art ◽  
National Museum ◽  
Additional Information ◽  
The World ◽  
Teachers And Students ◽  
Analytical Review ◽  
Nomadic People ◽  
Basic Concepts ◽  
The Republic

В статье представлен аналитический обзор постоянной экспозиции Мир тувинцев: быт, традиции и культура в Национальном музее Республики Тыва. Тувинский народ за свою историю накопил колоссальное культурноэстетическое наследие. Часть тувинских обрядов и традиций требует детального изучения и восстановления для сохранения и передачи потомкам. С развитием цивилизации и переходом в дома и благоустроенные квартиры позабылись строение, структура юрты и быт кочевого народа. В работе даны основные понятия о кочевом жилище, строении юрты, ее убранстве и предметах домашнего обихода, народном искусстве. Обзор музейной экспозиции представляет интерес для исследователей тувинского быта, конструкции древнего жилища кочевых народов Центральной Азии, в частности тувинцев. Изложенные сведения могут быть использованы как дополнительная информация для преподавателей, студентов и учащихся. The article presents an analytical review of the permanent exhibition The World of Tuvans: life, traditions and culture in the National Museum of the Republic of Tyva. The Tuvinian people in their history have accumulated a colossal cultural and aesthetic heritage. Part of Tuvan rites and traditions require detailed study and restoration to preserve and transfer to descendants. With the development of civilization and the transition of living in houses and comfortable apartments, the structure of the Yurt and the life of the nomadic people were forgotten. The paper presents the basic concepts of nomadic dwelling, the structure of the Yurt, its decoration and household items, folk art. The review of the museum exhibition is of interest to researchers of Tuvinian life, the construction of the ancient dwelling of the nomadic peoples of Central Asia, in particular, Tuvans. This information can be used as additional information for teachers and students.

scholarly journals http://habibiaislamicus.com/index.php/hirj/article/view/235

2021 ◽  
Vol 5 (3) ◽  
pp. 33-42
Author(s):  
sohail Akhtar ◽  
Keyword(s):  
Central Asia ◽  
Religious Practice ◽  
Moral Values ◽  
The People ◽  
Islamic Thought ◽  
The World ◽  
The Status

The term Sufism is related as mysticism which has assumed in Islam. Although it is not so much a set of doctrine but as a mode of feelings in the religious and spiritual domain. Sufism is based on piety and truth and it traces its origin from Quran and Hadith. Sufism or Tasawuf (mysticism) is actually the essence of Islamic thought and philosophy while this concept is based on high moral values of life and the purity of man with exalted spiritual emotions. The word Sufism in Islam was originated and developed in the noble persons of Arabia and it flourished in Iran and in central Asia and then spread in Africa and final reached at Sub-continent in 5th century. Thousands of Sufis all over the world with their followers are affiliated with different Sufi orders. These Sufis influenced over the lives of the people with regard to their social and religious norms, etiquettes with special religious practice. The paper highlights the status and importance of mysticism in Islam under the concept of various thoughts of Sufis.

scholarly journals The problems of determining the canon in the plastic folklore of the Sakha (Yakuts)

2018 ◽  
Vol 55 ◽  
pp. 04010
Author(s):  
Sargylana Nikiforova ◽  
Galina Popova ◽  
Ekaterina Dyachkovskaya
Keyword(s):  
Traditional Culture ◽  
Folk Art ◽  
Ethnic Community ◽  
Spiritual Experience ◽  
The People ◽  
Applied Art ◽  
The World ◽  
Basic Characteristics

In the conditions of erosion of specificity and weakening of ethnic cultures identity, massive imitation of authenticity undertaken by the cultural bearers themselves with the aim of commercializing becomes an additional threat to its preservation. The authors believe that these threats can be minimized if “structuring elements” of this culture are determined. In particular, the popularization of canonical national forms of culture can contribute to this. The undividedness of oral folk art and decorative applied art is the basic characteristics of folklore. In addition to it, the structural and content components of the artistic canon in the folk art of Sakha (Yakuts) are named in the paper. In traditional culture, the thing made according to the canon, determines the behavior of its owner and makes him correspond to the expected visions of the ethnic community; moreover, it models the scenario of his fate. The problems of interaction between the evolution of style and the author’s deviations from the canon are partially touched upon in the article. With regard to the plastic folklore, these are the best, typical, and familiar features that are not presented as a sum of skills and techniques of craft, but as a creative interpretation of the national master. In the outstanding works of folk art, these ornamental forms are deliberately chosen, taking into account the chromatic code of culture, the composition of which refers to the national picture of the world. The pictorial canon in the plastic folklore captures and transmits the rules for visualizing the spiritual experience of the people from generation to generation. In fact, it forms the framework of culture, and it is the canon that provides for “not a common expression of faces” of each culture.

scholarly journals “Fox Stories” in the Folklore of the Khakass

2020 ◽  
Vol 19 (5) ◽  
pp. 156-166
Author(s):  
Venariy A. Burnakov
Keyword(s):  
Life Experience ◽  
Folk Art ◽  
Ethical Norm ◽  
External Data ◽  
Direct Observations ◽  
The People ◽  
The Social ◽  
The World ◽  
Main Plot ◽  
Group 5

Purpose. The article explores the characteristics of the fox in the oral folk art of the Khakass. The study is based on folklore, ethnographic and linguistic sources. The paper analyzes folklore materials published in Russian and Khakass languages. Results. The author explores various genres of narrative Khakass tradition, which feature the fox: myths, epics, tales and sayings. During the process of analysis, it was concluded that the representation of this animal can be commonly found in folk art of the Khakass. Moreover, it has a complex and ambiguous characterization. The perception of this beast in the traditional consciousness was, to a large extent, determined by a long study of its biological nature, external data and habits. Russian culture also had a certain influence on the formation of the folklore image of the fox among the Khakass. Five main plot groups in which the designated beast appears are identified. The works assigned to Groups 1–4 were formed based on their own mythological views and within the framework of their ethnic tradition. They arose as a result of direct observations of the life and habits of the fox and reflected the life experience of the people, their observations, ideas of the surrounding nature and the desire for knowledge of the world. In many ways, they have an etiological character and are associated with a belief in magic and sorcery. What is also important is that in these works, the direct life of the animals themselves is depicted, as it was presented in the traditional consciousness of the people. The narratives assigned to Group 5 were mostly developed in the context of intercultural contacts between the Khakass and Russians. Conclusion. As a result of this process, there was a borrowing and processing of images and plots within the framework of their own ethnic tradition. There is a tendency under the guise of animals to depict people and their psychological properties, as well as display the social and everyday life of society. The interpretation of the form of the trickster-fox is subject to a certain moral and ethical norm. At the heart of all the stories studied is the motive for obtaining food, which is carried out in various ways and as a result forms the corresponding stereotype of perception of this beast.

scholarly journals Actualization of traditional art practices in contemporary art of Mordovia (in the context of creating choreographic suites)

2020 ◽  
Vol 12 (3) ◽  
pp. 314-324
Author(s):  
Yurii A. Kondratenko ◽  
Elena N. Antipkina
Keyword(s):  
Contemporary Art ◽  
Modern Dance ◽  
Folk Art ◽  
Folk Dance ◽  
Traditional Values ◽  
Systematic Analysis ◽  
Traditional Art ◽  
The Past ◽  
The People ◽  
Compositional Structures

Introduction. Among the processes that are clearly traced in the modern artistic practices of Mordovia, there is one that draws particular attention – the desire to comprehend folk art in a new way, to actualize the traditional layers of culture within the framework of neo-traditional forms of contemporary art. A folk dance is an example of one of the directions of modern choreography. The purpose of the article is to review the experience of creating choreographic suites in modern dance in Mordovia, based on traditional folklore. This allows studying the techniques of citing traditional forms of folk art in contemporary art and the ways of their actualization. Materials and Methods. As the main material for studying, this study analyzed the performances of choreographers of Mordovia, working with such modern dance as choreographic suites «Girl-birch» and «Eight Mordovian songs». It was possible to formulate answers to the research tasks as a result of the application of a systematic analysis of sources on this topic, as well as carrying out a comparative analysis of the compositional structures of these choreographic suites, the specific features of the construction of their choreographic texts and work with musical material. Results and Discussion. The actualization of traditional artistic practices in contemporary art is an experiment and constant search for new ways of expression. Within the framework of one of the neo-traditionalist trends in contemporary art, folk dance, one can observe the way how traditional values are rethought and considered as relevant now, thereby the past becomes part of the modern way of life. In this context, the analysis of the search for a new way of expression within the framework of the suite form is of particular interest. As a result of the analysis of the compositional forms of modern choreographic performances in Mordovia, it revealed two trends in the development of the form of a choreographic suite: a movement along the path of creating a production with non-classical content on the basis of the classical suite structure and an appeal to traditional compositional forms of folk art and filling them with relevant content. Conclusion. The neo-traditional trend in art is based on the idea that tradition is not only the past of the people, it also exists here and now, our actual present. With the advent of the folk direction in modern choreography, the search for such an actual true tradition has become a unique feature of modern dance in Mordovia. Within the framework of this article, some ways of the development of folk direction were noted, associated with experiments in relation to the form of a choreographic suite and the main trends in the search for the development of the dance form were outlined.

scholarly journals Teater Tradisional Melayu Makyong dalam Lintasan Sejarah dan Kekinian Di Sumatera Utara

2015 ◽  
Vol 6 (2) ◽  
pp. 138
Author(s):  
Wiflihani Wiflihani ◽  
Agung Suharyanto
Keyword(s):  
Urban Community ◽  
Folk Art ◽  
The North ◽  
Art Form ◽  
The People ◽  
Dominant Feature ◽  
Performing Art ◽  
North Sumatra

The Makyong traditional theatre is a Malayan performing art belong to the indigenous Malays people in North Sumatra, which is knownly originated from Malaysia and Thailand. It was acculturated intimately with the North Sumatra malay costums since had been develop-ped and staged by Royal of Serdang Sultanate. The traditional theatre then had become a entertainment form by for the people in which it performed entertainly and comical staging for refreshing the audience. Nowadays it is a folk art form which  has revived by urban community that performs humors and jokes as the dominant feature in the show. It is staged by spend approxi-mately one and a half hour where it becomes more fascinated in watching in term merely several aspect such as artistics, meanings, symbols, and other which are trapped audience in hard thougth.

scholarly journals Saberes populares e indígenas e suas lutas afirmativas: uma perspectiva de Educação em Direitos Humanos

2018 ◽  
Vol 4 (7) ◽  
pp. 22
Author(s):  
Everaldo FERNANDES ◽  
Celma TAVARES
Keyword(s):  
Human Rights ◽  
Indigenous Knowledge ◽  
Paulo Freire ◽  
Human Rights Education ◽  
Traditional Values ◽  
The South ◽  
The People ◽  
Political Perspective ◽  
The World

O presente estudo objetiva estabelecer um diálogo aproximativo entre a epistemologia dos saberes populares, os saberes tradicionais indígenas e a educação em Direitos Humanos. Nesse diálogo situamos as especificidades, os nuances e organização própria de cada modo aprendente/ensinante na tentativa de perceber o que há de latente nos conteúdos e perspectivas dos Direitos Humanos nas respectivas leituras de mundo e da palavra. Nessa compreensão, estabelecemos o diálogo entre essas leituras de mundo das tradições popular e indígena (indígenas de Pernambuco), evidenciando os valores axiológicos tradicionais, e o que eles anunciam e denunciam das formalidades ideologizadas acerca da declaração dos Direitos Humanos. Nessa direção, esse diálogo contribui com as possíveis revisões dos conteúdos e formas das vivências da educação em Direitos Humanos. Para tanto, servimo-nos da abordagem das Epistemologias do Sul, sobremaneira, das contribuições de Boaventura de Sousa Santos, Paulo Freire, Ivone Gebara, Saberes do Povo Kambiwá, Susana Sacavino e Ana Maria Rodino. Concluímos que esse diálogo muito enriquece não só as discussões da educação em Direitos Humanos, mas também amplia o exercício das leituras Interculturais na perspectiva ético-política. Saberes Populares. Saberes Indígenas. Educação em Direitos Humanos. Peoples’ and Indigenous’ knowledge and their affirmative fights: a perspective of Education in Human Rights ABSTRACT The present study aims to establish a closer dialogue between the epistemology of the people knowledge, the traditional indigenous knowledge and the Human Rights education. In this dialogue, we set the specificities, the nuances and proper organization of each manner of learning/teaching in the attempt of realizing what is latent in the contents and perspectives of Human Rights in the respective reading the world and the word. In this comprehension, we establish the dialogue between these readings of world of the people’s and indigenous’ traditions (indigenous of Pernambuco), pointing the axiological traditional values and what they announce and denounce in the ideologized formalities about the Human Rights declaration. In this direction, this dialogue contributes with the possible contents revision and means of the experiences of education in Human Rights. Therefore, we serve of the South Epistemologies approach, especially, in the contributions of Boaventura de Sousa Santos, Paulo Freire, Ivone Gebara, the knowledge of the Kambiwá People, Susana Sacavino and Ana Maria Rodino. Concluding that this dialogue enriches not only the discussions about education in Human Rights, but also extends the exercise of intercultural readings in the ethic-political perspective. Peoples’ Knowledge. Indigenous Knowledge. Human Rights Education.

scholarly journals Justice And Business Works In Temur Settings

2021 ◽  
Vol 03 (04) ◽  
pp. 26-29
Author(s):  
Abdullaev Abdurauf Abdirakhimovich ◽  
Keyword(s):  
Central Asia ◽  
The People ◽  
The World

The great Amir Temur was recognized not only by the people of Central Asia but by the whole world, and he did great service not only in Central Asia, but also for other peoples of the world. We especially commend him for his Temur traps and tall and magnificent buildings. This article gives you some ideas about Amir Temur's structure and his valuable advice.

Sign in / Sign up

Export Citation Format

Share Document