Turkmenistan: Plebiscite of a Nation of Artisans CAP Paper 215, January 2019

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Turkmenistan: Plebiscite of a Nation of Artisans CAP Paper 215, January 2019 Turkmenistan: Plebiscite of a Nation of Artisans CAP Paper 215, January 2019 Snezhana Atanova is a PhD candidate at INALCO. Her he Altyn Asyr bazaar, thesis focuses on nationalism and cultural heritage located in Turkmenistan’s capital, Ashgabat, attracts in Central Asia. She recently finished an IFEAC T thousands of visitors every week. fellowship devoted to national identity in everyday life Local residents and foreign tour- in Kyrgyzstan and Turkmenistan. She was awarded ists rush to explore the richness a Carnegie fellowship in 2017, in which she explored of the country’s largest market. National crafts, from embroidery national identity through the nation-branding initiatives and carpets to jewelry and clothing, of Russia and Central Asian countries. She earned a constitute a significant propor- Master’s in International Communication from the tion of the bazaar’s diversity. By exploring the links between the University of Strasbourg in 2012 and a Master’s from demand for and consumption of the National Institute of Oriental Languages and handicrafts within the Ashgabat Civilizations (INALCO) in 2015. bazaar, this paper aims to under- stand to what extent handicrafts influence Turkmen economics and society and express “banal nationalism.” The term “banal nationalism,” coined by Michael Billig in 1995, refers to daily representations of the nation that build a shared sense of belonging to one nation- al community. As Billig states, “the term banal nationalism is introduced to cover ideological habits which enable established nations of the West to be repro- duced.”1 Some signs of nation- hood are not recognized as such by the population because they are “so familiar, so continual.”2 In Turkmenistan, national crafts seem to be the main reminders of national belonging. The ma- Turkmen carpet-maker, Altyn Asyr bazaar, Ashgabat, May 2018 jority of Turkmen women wear long dresses with embroidery and traditional jewelry; every apartment or house has wool CAP Fellows Paper 215 1 carpets and felt mats (koshma), tional visitors, as well as acquired an essential part of everyday and as well as amulets. Carpets, em- over fifty handcrafted products. festive wardrobes alike; it is worn broidery, dresses, and jewelry I collected statistical data on so- at work and at home. Collars and make individuals the bearers and cioeconomic indicators from the necklines are decorated with creators of national narratives State Statistics Committee of ýaka, a V-shaped embroidery 3 and “flag” the Turkmen nation. Turkmenistan, as well as data on that begins at the neckline and The majority of publications on international tourism from the extends to the waist. Yaka can be post-Soviet Central Asia focus on World Bank and IndexMundi. large or narrow, with handmade states’ narratives as created and or machine-made embroidery. disseminated by official author- By analyzing interactions be- Dress cuffs may also be decorat- ities and academics. Based on a tween Turkmen artisans and con- ed with embroidery. While staple historical or even mythological sumers, as well as international dresses are worn at home, vel- past, these ideological narratives guests, this paper explores how vet, panne velvet, satin, and silk are devoted to raising national the high demand for handicrafts are preferable for special festive awareness and to legitimizing is driven by traditional rituals occasions. For special occasions, 4 and consolidating state power. and practices, how handicrafts ýaka are always handmade, while A limited number of papers ex- represent a livelihood and daily machine-made embroidery may plore the role of handicrafts in consumption practice, and how decorate casual dresses. unofficial narratives in Central handicrafts linked to tradition- Asia, analyze crafts as a source al rituals give room to everyday The Turkmen bridal costume al- of identity and livelihood, dis- narratives of Turkmen identity. ways includes a red dress and a cuss the role of textile heritage red çabyt; the kurte can be any in nation-building and cultur- Beyond the Bazaar: Long of a range of colors, such as rose, al identity, or examine artisanal Traditions in Turkmenistan green, or yellow. “A wedding products within the context of the dress is always decorated with 5 new market environment. Al- I borrow Eric Hobsbawm’s defi- embroidery and jewelry, sewn though there are academic papers nition of traditions as “a set of on the chest in several rows and on Turkmen handicrafts them- practices, normally governed by performing the function of amu- 6 selves, no research is devoted overtly or tacitly accepted rules lets. When walking, decorations to handicrafts as a source of na- and of a ritual or symbolic na- make a melodious sound and, ac- 7 tional identity. This paper aims to ture.” Among the first mentions cording to legend, drive away evil fill the gap by focusing on hand- of Turkmen traditions, dating spirits who are always hovering icrafts as presented through the back to the eighteenth and nine- near young women.”10 The several space of the Turkmen market and teenth centuries, are the pictures layers of clothes the bride wears traditional rituals and practices. and reports of Russian and West- also aim to shield her from evil ern travelers. Turkmen and Sovi- forces. The wedding costume in- 8 This research is based on visits to et scholars also devoted detailed cludes a gupba—a dome-shaped the Altyn Asyr bazaar in Ashgabat studies to everyday customs and silver headdress. The change of in August 2013, October 2017, and traditions. headgear after the wedding sym- April-May 2018. I apply a combi- bolizes “the girl’s promotion into nation of qualitative methods to Soviet ethnographer Anna Mo- the next highest age- and social analyze Turkmen handicrafts and rozova remarked, for instance, group.”11 The bride also wears social practices in Ashgabat— on the simplicity, tunic-like sil- other silver jewelry, including these include interviews and con- houette, and preference for red- bilezik (armbands) and guljaka versations with bazaar sellers and brown colors in Turkmen cloth- (an ornamental disc that is used customers (both Turkmen citi- ing of the late nineteenth and as “a button to close the front 9 zens and international visitors) early twentieth centuries. The neck part of the dress”12). The tra- and participant observations main components of women’s dition of wearing silver jewelry within and beyond the bazaar. I costume were a dress (koynek), for wedding ceremonies, festive interviewed fifty bazaar sellers/ pants (balak), and coats (kurte events, and as part of everyday customers and thirty interna- and çabyt). Traditional dress is attire has been noted since co- CAP Fellows Paper 215 2 lonial times.13 Every stage of the The cultural, social, and eco- In the Bazaar: Handicrafts wedding ceremony requires tra- nomic changes of the twentieth and Consumption ditional clothes heavily decorated century partially transformed with embroidery and jewelry. Turkmen traditional costume, yet It takes 25-35 minutes to get to its elements—color, fabric, em- Turkmenistan’s main bazaar, Al- Carpets and talismans also form broidered ornamentation, and tyn Asyr, from the city center. The part of the wedding ceremony, cut—continue to indicate ethnic bazaar is located in the northern and even of the traditional cos- and local affiliation. Traditional part of Ashgabat, in the Chogan- tume. Wool carpets decorate rituals and practices, meanwhile, li district. The market complex the room where the bride-dress- were more profoundly trans- was built in 2011 on the former ing is held. Carpets and koshma formed. Over time, the “magical site of the chaotic but charismatic (felt rugs), together with jewel- functions of the wedding costume Tolkuchka bazaar. ry and clothing, are included in have weakened or disappeared.”15 the bride’s dowry. Carpets and Today, some elements of the tra- The vast territory of the bazaar amulets like aladja and dagdan ditional costume are confined to is divided into specialized trade decorate the car that takes the museum exhibits, yet the bridal zones, each of which focuses on bride and groom to the wedding costume remains similar to those certain types of products. In the venue and then to their evening of previous epochs and remains center is a zone intended for food event.14 The amulets aim to pro- in high demand. Over time, the products. Around it are zones de- tect the bride and the groom from elements have been slightly mod- voted to household goods, build- bewitchment and evil forces. ified, but the main features have ing materials and furniture, tex- Nor is the bride alone in wearing been retained, such as embroi- tiles and footwear, electronics traditional clothes and jewelry; dered motifs and the use of the and household appliances, hab- numerous guests do so, too. It traditional fabric keteni. erdashery and perfumes, jewel- seems to be impossible to hold a ry and carpet products, etc. All marriage ceremony without arti- in all, Altyn Asyr has over 2,000 sanal masterpieces. stalls, divided into five sections: A, B, Ç, E, and D. National hand- icrafts are presented in section Ç. Carpets, koshma (felt mats), and tapestries are sold between section A and section D. Addi- tionally, one can find some hand- icrafts in other sections. In total, between 40-60 percent of the ba- zaar’s offerings are handicrafts or can be considered part of the tra- ditional life of Turkmen: embroi- dery, national clothes, headdress- es, scarves, jewelry, carpets and koshma, amulets, and so on.16 The bazaar is very popular in Ash- gabat and throughout the country, attracting people from all social groups. The marketplace oper- ates on Wednesdays, Thursdays, Saturdays, and Sundays, with the Altyn Asyr bazaar, Ashgabat, October 2017 busiest days being the weekend days and festive days, when many CAP Fellows Paper 215 3 kiosks with handicrafts are add- “a well-developed tradition, using atively ancient objects imported ed.
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