Kazakh Culture in the 20Th and 21St Centuries. Legacies and Innovations.” the Conference, Opened by the Ambassador of Kazakh- Stan to the United States, H.E

Kazakhstan Initiative Brief

No. 1

November 2013

th st Kazakh Culture in the 20 and 21 centuries. Legacies and Innovations

The Kazakhstan Initiative at GW Gratefully funded by the Kazakhstan Embassy in Washington D.C.

On November 6, 2013, the Central Asia Program at IERES launched its Kazakhstan Initiative with a one-day event on "Kazakh Culture in the 20th and 21st centuries. Legacies and Innovations.” The conference, opened by the Ambassador of Kazakh- stan to the United States, H.E. Kairat Umarov, featured the most prominent representative of Soviet and contemporary Kazakh culture, Olzhas Suleymenov, currently permanent representative of Kazakhstan to UNESCO. This conference is part of the IERES/CAP goal of relinking knowledge on Eurasian societies with the study of their cultures. IERES’s Central Asia Program hopes to contribute to the study of the cultures of Eurasia as living dynamic entities, functioning in interaction with politics and the economy, and reflecting contemporary social changes in the region.

The opinions expressed here are those of the author only and do not represent the Cen- tral Asia Program.

KAZAKHSTAN INITIATIVE BRIEF No. 1, November 2013

Ambassador Suleymenov weapon of defense – it is the main and the only means of national defense. Unless we take away This decade has been declared by UNESCO the this status, it would be impossible to stop the International Decade for the Rapprochement of development of the atomic bomb. Great powers Cultures. I believe that we can bring cultures like the U.S. and Russia should agree to make this together only by first knowing the causes of their weapon as a means of universal defense, not deep differences. For example, the difference national – that is, to reduce the arsenal to the between Catholics and Protestants cannot be agreed minimum and transfer it to the control of explained without knowledge of Islam. "Do not the UN Security Council which could be used as a make yourself an idol" – this is a covenant which political cudgel against oppressive regimes. So is especially observed by Muslims in the form of there are prospects for resolving the nuclear a ban on the depiction of people; and it has been issues. This will be the main goal of the Decade of in a way adopted by Protestants who largely the Rapprochement of Cultures, which could eschew crucifixes in church or other objects of otherwise be called a decade of salvation of veneration unlike Catholics. In America I met mankind. with African American Christians who had con- verted to Islam. They told me that they did not Generation of sixties in the history of art and cul- want to worship a white god. God is beyond race. ture of the Soviet period. The 1960s heralded the Portraying a white god is making him not God of end of the Leninist-Stalinist period, following the all people but God of a particular race. Martin death of Stalin in 1953, and saw a period associ- Luther knew this and wanted to make God for all ated with political thaw and a revival of culture people. These reasons are important to know (there were great films, books, poems produced and this is one way how we can make cultures at this time). Thus a new generation of readers closer. grew up. People learned something new not from the newspapers but from poetry, which took on Like many post-Soviet cultures, Kazakh culture is such a great role and helped the entire culture to currently experiencing some difficulties – it can rise to a certain level. even be called a crisis. For example, literature has been in crisis for the last 20 years. Once our Kazakhstan’s national idea. It became very popu- country was “a country of great readers” where lar to talk about national ideology after the col- poetry books were printed in runs of 100- lapse of the Soviet Union, when fifteen inde- 150,000 copies and even this amount proved pendent states emerged along with fifteen differ- insufficient to meet demand: indeed, there were ent national ideas. National ideas however were even popular “black” book markets where the subordinated to nationalism. This is something prices of books soared. One hundred thousand we have to guard against, because nationalism copies of my own book “Az i Ya,” which cost 74 limits the capacities of the nation, benefiting as it kopecks, were printed, while on the black market does only the dominant nationality, not the na- in some of the Soviet republics a car was even tion as a whole. Thus, the danger exists that indi- offered in exchange for it. But this all lies in the vidual national ideas may ruin multinational past now the reader has largely become a listen- societies in Kazakhstan, Russia, and the United er of music and viewer of TV instead. And this is States. National ideas should bring together all a big loss for culture. But we must understand nationalities, uniting them and making multicul- the importance of books and knowledge. turalism a natural form of existence for the na- Knowledge brings cultures together, and it will tion. In addition, we should not lose our national consolidate peace on our Earth. identities but keep all the best features that unite us. Discussion The role of Russian culture in Kazakhstan. We Nuclear issue and Iran - Nuclear weapons have a should not deny both positive and negative as- status of a weapon of national defense and it is pects of the influence of Russian culture in Ka- an importance that can hardly be denied. India, zakhstan. Russia made a huge contribution in Pakistan, Israel, and Iran all want to have a terms of our development, but it was also impe-

KAZAKHSTAN INITIATIVE BRIEF No. 1, November 2013 rial at times, when it suppressed specific national by the rise of national ideas, when one thinks features of our popular culture. There being two more about himself rather than others. We sides to the story, we should bear in mind for should consider this and think how to change future generations a third approach: that is, not this understanding to the benefit of future inte- forgetting about good and evil, but understand- gration. The Eurasian Union is one such form of ing that more good than harm comes from com- integration, which will help Central Asia to inte- municating with all neighboring cultures. Indeed, grate. If Pan-Turkism can be incorporated within this third “understanding” has become a basis of Eurasian integration, this phenomenon is not as our policy as it is laid out in our Constitution. dangerous as many people think. At a time dur- Cohesion and unity is a pledge of our society. We ing the Ottoman Empire, Pan-Turkism was a must stand on this, not allowing extreme parties threat and a destructive phenomenon. Pan- to prevail and in this fight we may face more Turkism can manifest itself in culture, but not in difficult times ahead. politics, where it is irrelevant; while both Turk- ism and Slavism are acceptable phenomena. Eurasianism. In the recent past, ideas of Eura- sianism permeated our thoughts, following Lev Kazakh mentality. Mentality is borne of culture. Gumilev’s thoughts on the subject In 1994, Pres- Recently I wrote an article for the birthday of a ident Nazarbayev proposed the creation of the person. Usually in such cases a writer should Eurasian Union, which I have always supported recall a person’s achievements and awards. But and remain its ardent supporter. Europe and this person has not received any awards; in fact Asia is an indivisible space where many coun- he was a long-term prisoner in one of the Mor- tries are located, and which should live in peace, dovian camps in Russia. But this man had never harmony, and interdependence with one anoth- said a word of resentment towards the authori- er. The idea of the Eurasian Union could outgrow ties who made his fate so miserable. On the con- the union of Russia, Kazakhstan, and Belarus to trary, speaking to younger generations he said: encompass a larger space from the Atlantic to the “no matter what happens to you and your loved Pacific and Indian oceans. Of course, there are ones, ask God only that your country is safe, that some obstacles to achieve this, mainly to do with your native land is secure.” Since then, I repeat economic factors and also customs. The recent these words to all. This is the most important experience of the European Union and its uncer- expression of our national culture. tain future is particularly unfortunate. The same difficulties may be arising as regards the Eura- After Ambassador Suleymenov’s presentation, a sian Union, which will be created in 2015. So we first panel discussed the current state of re- add to its name that it is an economic union to search on Kazakh literature, especially the classic avoid excessive politicization. works of Abai, Auezov, and Suleymenov, which shaped the Kazakh literary field. Favorite poets and leaders. I would not mention the classics, but will take more contemporary Peter Rollberg, IERES director, opened the leading figures – among them are Vladimir Ma- panel by presenting his paper on “An Inconven- yakovsky, Konstantin Simonov (in his last years I ient Sage: The Legacy of Abai”. was friends with him, being fond of his verses), Leonid Martynov (he is my mentor), and several As with all great artists, Abai’s legacy has been others. I was friends for instance with Andrei interpreted differently in each time period: Voznesensky, Robert Rozhdestvensky, Bella Ah- sometimes, the social relevance of Abai’s works madullina, and Yevgeny Yevtushenko. At some was emphasized, sometimes, the more individu- point I will have to find more time and write alistic aspects – in particular, the suffering of the about my memories of my poet friends. intellectual, the educated man in a world that largely disrespects education; sometimes, the Economic integration in Central Asia and the idea national aspects became prevalent. When read- of Turkism. Integration in Central Asia is a natu- ing Abai’s works today it becomes clear that they ral phenomenon, prompted by nature, history, contain multiple aspects and allow for a variety and geography. This process could be thwarted of interpretive approaches, all of which can be

KAZAKHSTAN INITIATIVE BRIEF No. 1, November 2013 legitimate in their own way. The surest method hidden from view./You come in a flowery dress/ to interpret Abai in the way that is true to his To your midnight rendezvous.// At once both original intentions is to closely read the original bold and meek/ Full of sweet girlish grace,/ You texts. furtively look around,/ Blushes light up your face.// Not venturing even to speak/ With a soft One of the central themes of Abai’s oeuvre is half-sigh, half-groan/ On tip-toe you rise and nature. He uses poetry to capture the atmos- press/ Your trembling lips to my own.// phere of the aul during different times of the year. His cycle on the seasons is particularly re- Here, nature provides shelter, a hideout for the markable, especially where it deviates from typi- lovers; human emotions live in harmony with the cal perceptions in other national literatures, in movements of the trees, the moon, and the river. other words, where it becomes specifically Ka- In this and other love poems, passion is captured zakh. “Autumn” (1888), for example, emphasizes as an overwhelming but ultimately gratifying the darkness of that season. “Winter” reflects the power. specific national attitudes toward a profound force of nature that defines the life of Kazakhs for Abai’s poetry contains a number of features that many months. In the poem, winter appears as a stand out. First and foremost, an exemplary can- living being, and it is not a friendly one: dor of the poet about himself that is almost mer- ciless. Indeed, the will to verbalize the experi- /His beetling eyebrows are knit in a ences of his life with utmost truthfulness out- frown./When he tosses his head – dismal snow weighs any other consideration. starts to fall./Like a crazy old camel he acts in his rage,/Rocking and shaking our yurta’s thin wall. A number of Abai’s poems sum up the results of // The horses in vain try to shatter the ice - /The his life struggles, drawing a balance of what he hungry herd scarcely shuffle their feet,/Greedy has realized over the years. Such is the poem “It wolves – winter’s henchmen – have their pains me now…”. fangs;/Watch, or disaster your flocks may meet! Unlike winter poems in other national litera- //It pains me now to realize that I have tink- tures, Abai points out its deadly consequences ered/With nature’s gifts and lived my life in for people and animals alike: it is not the glitter- vain./ I thought myself one of the rarest think- ing beauty of fresh snow, not the purity of the ers,/ But empty is my fame… Alas, I have no winter sky, and not the vastness of snow-covered aim.// Inconstancy and idleness are our greatest fields or the joys of sleigh and ski and skating banes./We put no faith in loyalty of friends./Our that are described. Instead, Abai shows all the warmth of feeling all too quickly wanes,/We cool deadly dangers that winter brings with it. Similes too soon: a trifling hurt offends.// I have no one such as “rage of a crazy old camel” and meta- to love now, and no friend./ In disillusionment I phors such as “wolves as winter’s greedy turned to writing verse./When I was sure in henchmen” point to the existential seriousness of heart, how without end,/ How fascinating winter for the Kazakh people. seemed the universe!// My soul craves friendship, seeks it daily,/ My heart is aching for it, and It seems safe to say that in his nature poetry, while I/ Have never known a friend who’d not Abai is the spokesman of his nation: he expresses betray me,/ I sing a hymn to friendship for all the specific emotions that he, just like every Ka- time!// zakh, experiences in his interactions with living nature. For such poems, it is essential that Abai It is this uncompromising honesty about himself and his people are one, his viewpoint is theirs. that entitles him to candor about his people. “If your body is alive but your soul is dead, words of But nature also serves as the backdrop for love: reason will not reach you, and you will be inca- /In the silent, luminous night/On the water the pable of earning your living by honest work.” moonbeams quiver./In the gully beyond the (Word Six) aul/Tumultuous , roars the river.// The moun- tains respond in a choir/ To the shepherd dogs

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Writing for Abai was a way to deal with his inner the corrupt compliance of the Kazakh elites with despair, his sense of hopelessness. Only when he the Russians. spares himself nothing will his writing have the desired effect. The Zar Zaman poets’ critique of the colonial presence sometimes took the form of explicit Abai has no illusions about humankind. He de- condemnations of the Russian presence, as when scribes human behavior as dominated by greed, Babataily wrote that “When her banks turned dishonesty, contempt for others, pride and igno- Russian/When Russians drank from her/The rance. But he insists that these same human be- very water of the Ayagoz shivered.” At other ings, both as individuals and as a nation, are free times, the metaphorically condemn the coloniz- to make moral choices. He knows human nature, ers as ‘pigs,’ as when Qanaiuly writes that “a son he has observed it keenly and studied it deeply. is not born from a sow/nor can kin be made with He shares his insights, hard to accept as though the wild boar.” The poets were equally critical of they may be, with those who are willing to see Kazakh elite who they saw as corrupt, complicit harsh truths. Every human being can opt for the with the Tsarist colonial administration, and values that Abai holds dearly: education and indifferent to the obligations of kinship and knowledge, respect and decency, truth and hon- community. In the case of Babataiuly, poetic esty, peace and love. That is the message of Abai, speech, and in particular the public performance Kazakhstan’s greatest thinker, an inconvenient of poetic speech, was the means by which this sage. corruption was resisted. Babataiuly revels in the power of his speech, writing that “My strength is Gabriel McGuire, of Nazarbaev University, dis- the bard’s power/the pure words conceived in cussed “Kazakh Literature in the 19th Century: me/I scatter like flung pearls,” and threatens The Case of the Zar Zaman Poets.” “the judge who falls to bribery/the Bek who breaks his people/the very words are foul— The use of the word ‘Zar Zaman’ (time of sorrow) /With my poison tongue I poison them.” to designate a particular genre of 19th century Kazakh verbal art originated with Mukhtar Aue- In his 1948 novel, Abai Zholy (The Path of Abai), zov, who in his History of Kazakh Literature Auezov implied that this critical spirit makes the (1927) used the title of a poem by Shortanbai Zar Zaman poets the true forebears of the later Qanaiuly to refer to a whole series of mid to late written Kazakh literary traditions. Auezov’s Abai 19th century poets. Auzeov wrote that this ‘cur- Zholy, itself often considered the paradigmatic rent’ included Shortanbai Qanaiuly (1818-1881); work of Kazakh prose literature, is a fictional Dulat Babataiuly (1802-1871); Murat Monke-uly account of the life of the great turn of the century (1843-1906); and Abubakr Kerderi Borankululy Kazakh poet and critic Abai Qunanbai. In his first (1858-1903). Auezov’s term was not an asser- version of the novel, Auezov included a scene in tion that the different poets were members of a which Babataiuly visits the summer herding common literary movement but rather an camp of Abai’s family, where the young, book- acknowledgement of the evident thematic and educated Abai listens to Babataiuly perform both formal similarities between their works. The Zar classic Kazakh oral epics as well as examples of Zaman poets all lived on the Kazakh steppe in the his own ‘Zar Zaman’ poems. Abai comes to un- 19th century, all drew on the oral poetic genre of derstand both the literary value of the Kazakh tolghau, and all composed poems that addressed oral poetic tradition and the power of poetic the eclipse of the Kazakhs’ traditional social speech to expose and thus contest the corruption structures by an ascendant Tsarist colonial ad- of the elite. The scene ends with Babataiuly gift- ministration. Specifically, Auzeov wrote that ing the young Abai a dombra (the traditional “within this movement religious theology was instrument of the Kazakh bard) before departing joined with an indigenous Kazakh perspective,” on his travels. With this scene, Auezov crafts a and he went on to conclude that for all these po- literary genealogy in which Abai, and by exten- ets, the problem is first the presence of Russian sion Auezov himself, are the spiritual heirs of the colonial power in the Kazakh steppe and second 19th century Aqyns (bards).

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Diana Kudaibergenova, of Cambridge Universi- Esenberlin’s seminal work Koshpendiler, it inves- ty, presented her paper on “‘Imagining communi- tigates the ways continuity was imagined within ty’ in Soviet Kazakhstan. An historical analysis of these texts. Second part considers the re- narrative on nationalism in Kazakh-Soviet litera- interpretation of both the continuity and symbol- ture.” ism it produced in late Soviet period and how it shaped the re-interpretation of Kazakh self- The focus of this paper is the creation of the Ka- identity after the independence from the per- zakh-Soviet nationalistic narratives within the spective of the political elites. frame of epic prose that developed in late 1960s and 1970s and as she argues, deeply influenced The second panel explored the Kazakh ‘new the post-Soviet nation-building in Kazakhstan. By wave’ cinema of the 1990s-2000s and the chal- recovering and analyzing the nationalistic texts lenges involved in producing films in a Central in forms of epos-like novels and historic narra- Asian country. tives that became highly popular in mid-1960s and 1970s, context in which they were created Michael Rouland, CAP associate, discussed a and writers who wrote them, she shows how paper on “Kazakh Cinema through the Looking main narratives and symbols of Kazakh state- Glass: Warriors on the Steppe”. hood and nation were imagined in the Soviet period. The focus is on literature and on the cul- Recently, Kazakh film has been at a cross- tural productions in Soviet and later, post-Soviet roads. The infusion of unprecedented funds Kazakhstan. combined with fastidious politics has changed an industry that had remained at the fringes of do- She analyzes the symbolic representation of lin- mestic interest but thrived in global art-house eage, networks and continuity as well as a great cinema acclaim. Over the past decade in Kazakh overview of pre-colonial history in a major work cinema, two schools of filmmakers came into of the historical narrative genre – Ilyas Esenber- direct confrontation. The first are the veterans lin’s trilogy Koshpendiler (Nomads) written in of the 1980s and 1990s economic and cultural 1969-1973. This was one of the first grand works transformation. The second, influenced by the of such type and its importance for the creation vibrant Moscow film and television scene, group of further movement was crucial. Another im- of artists embraced the big budget and politically portant point to consider in this analysis is the relevant demands of Kazakhstan’s burgeoning time and space when these works emerged: So- film industry after the mid-2000s. viet Almaty in the 1960s-1970s, the cultural and intellectual hub of the nation (e.g., the whole At the center of this transformation are movement of young reformers “Zhas Tulpar”, two boldly revisionist and quite imaginative which included Olzhas Suleymenov, Murat Aue- blockbuster films, The Nomad (Koshpendiler) and zov, and others was formed there), but also Mos- Warriors of the Steppe (Zhauzhurek myng bala). cow, where many of the members of intellectual Both describe a pivotal moment in Kazakh histo- elite were educated. ry in the 1720s and highlight an existential crisis in Kazakh history; but they changed the local film In order to reconstruct these settings and time industry in significant and fundamental ways. period she relied on numerous narrative inter- views with members of intellectual elite of that Gaukhar Noortas, of Mount Helix Films Inc., time. Their memories were compared, analyzed spoke about the Kazakh cinema industry. She and incorporated in the following pages of this addresses the challenges, and also opportunities, analysis. of being an independent Kazakh filmmaker.

The paper consists of two parts – historical and Obviously some works of Kazakh filmmakers re-interpretational. First part considers the con- already successfully compete and win top prizes ceptual and historic formation of ethnic Kazakh at the most prestigious festivals in the world. identity written and constructed within the Ka- However Kazakh filmmaking is yet to establish a zakh-Soviet literature. Taking an example of secure place in the global market of cinema

KAZAKHSTAN INITIATIVE BRIEF No. 1, November 2013 where it would be sold internationally to the Let’s talk about opportunities now. The theater theater chains, cable televisions, and other me- networks in Kazakhstan are growing fast, and so dia. We want for Kazakh films to be known by is the quantity of moviegoers. One of the biggest the common audience just as well as French, and fastest growing opportunities for Kazakh German, and Latin American cinemas. In order to filmmakers is to produce films for the national get there the challenges have to be recognized market. The films would have to be properly and right opportunities taken. budgeted in order to generate profits because the market is not that large, but establishing a One of the major challenges is the very basic one: local viewership is a very important part of the financing. It is a challenge that all independent development of any national cinema industry. filmmakers face, not only Kazakh. There are two This opportunity is already there, and some are most common ways to finance films in Kazakh- taking advantage of that. On 5 independent fea- stan today: either via co-production with Ka- tures that have been produced independently zakhFilm Studios or via raising 100% of the equi- and had successful theatrical releases in Kazakh- ty from private investors. There are some rare stan during 2013, at least three of them made exceptions to this but for most productions these really good profits. This is huge progress and are the ways. Both of these are extremely hard to gives an opportunity for the local talent to ex- achieve, and that is a huge obstacle in the way to press themselves and put on the big screen some success for independent filmmakers. Govern- of the most important issues for the people of mental funding of films comes via KazakhFilm Kazakhstan. Studios, and they do produce several films a year but it is not enough. If we want to address the international opportunities for the Kazakh filmmakers, we should talk What would be great step forward if Kazakhstan a little about film festivals. There are many won- started introducing film tax credits or tax incen- derful international film festivals that take place tives. It is a tax benefit offered throughout the every year in Kazakhstan. Very well-known in- United States and different countries in the ternational film professionals and talent are in- world to encourage film production. It can be vited to Kazakhstan to participate in those anywhere from 15% to 50% of the budget of a events. It is wonderful, as it helps the recognition movie. Depending on different types of incen- of the Kazakh cinema. However it is not enough. tives this would attract foreign production com- Since 2011 the film company Mount Helix Films, panies to shoot their movies, and hold post pro- with the support of the Embassy of Kazakhstan duction in Kazakhstan. It would also help em- in the US, produces a film and cultural festival in ployment rates, as well as promoting the image Hollywood: KAZAKHSTAN: MONTAGE OF CINE- of the country and benefitting tourism, but most MAS. This festival gives an opportunity for Ka- importantly it would help Kazakh filmmakers zakh filmmakers to showcase their work in Hol- finance their projects independently. lywood, in some of the most prestigious theaters.

Another challenge that Kazakh filmmakers face is Another opportunity would be the unique cul- the lack of practical knowledge of certain, some- tural and historical background of Kazakhstan. times technical, aspects of the business. There There are many stories that are yet to be told are particular ways and practices in the produc- that would fascinate the world… from amazing tion of a motion picture that are universal folk images, to the matchless history of Kazakh throughout the industry. For example script nomadic warrior past and into the present era of writing formats and software, budget break- independent Kazakhstan. There are stories from downs, story-boarding, shoot scheduling, sales, the relatively recent past of the Kazakhstani na- pre-sales, typical profit splits etc. Unfortunately tion that can influence and motivate viewers only those that are lucky enough to be able to from around the world. One such example could afford studying overseas are able to gain this be the Anti-nuclear movement in Kazakhstan in knowledge. 1989 which was led by Olzhas Suleymenov. This movement was one of the first and one of the most powerful which ultimately led to the clos-

KAZAKHSTAN INITIATIVE BRIEF No. 1, November 2013 ing of the nuclear test site in Semipalatinsk in study of Kazakh music investigates how particu- 1991. Today, after having banished the world’s lar musicians have navigated transnational and 4th largest nuclear arsenal, Kazakhstan has tak- cosmopolitan aesthetics in their own perfor- en the first steps to the nuclear-weapon free mances, and how transnational organizations world, and has become a powerful symbol of like Aga Khan as well as European and American hope. festivals and tours are involved in these naviga- tions. This paper explores how cosmopolitanism, The third analyzed the revival of Kazakh tradi- transnational funding and the various strands of tional music and the birth of Kazakh pop music, musical education in Kazakhstan have influenced which originates from ancient musical rhythms. aesthetics and performance.

Alma Kunanbaeva, of Stanford University, pre- Many scholars have argued the importance of the sented her work on Kazakh musical identity. embodied and tangible aspects of transnational processes (Paul James, James Goodman, Gupta, Musical identity is a dynamic category – it is al- and Ferguson), and have pointed out the uneven ways changing. However, speaking on moderni- access to “global flows” of shared aesthetics and ty, we’re able to differentiate its various strata, goods, and increased interconnectedness (Aihwa which are coexisting on different levels of ethnic Ong). This uneven access to cosmopolitan pro- conscience. Let’s call them folkloric and mass cesses can be seen clearly in the lives of Kazakh popular. The first is geographically fenced; the musicians, particularly the Kazakh qobyz second is overcoming geographical boundaries. (horsehair fiddle) players that she studied with. They differ by sound ideals and repertory. The musicians who have successfully navigated the transition from Soviet-era aesthetics to con- During certain period of time they peacefully temporary cosmopolitanism are those who coexisted in the Republic of Kazakhstan, but to- learned an older, rural style of performing Ka- day the body of Kazakh music identities is drasti- zakh folk music, but who have also had ample cally changing. We see how once everywhere access to the cosmopolitan spheres, often beloved musical styles are ruthlessly disappear- through conservatories and foreign festivals. ing whereas some others, once being strictly local, are becoming wildly popular. New mass These musicians highlight their extremely virtu- media transforms traditionally local styles and osic repertoire, while at the same time emphasiz- genres into widespread, available to all and gen- ing the older shamanic aspects of the Kazakh erally accepted. Musical identity of the modern qobyz performance practice. They thus exempli- Kazakh is becoming boundless: it does not accept fy the new cosmopolitanism, encouraged by Aga any borders – be it geographical, stylistic, genre, Khan and foreign festivals, which advocates or even linguistic. How these changes go well preservationism (such as the “tradition-bearers” with the world music market, commercialization, program supported by Aga Khan), professional- and musical education should become a topic of ism, and “global connection”—which variously a special discussion. means appeal, access, and distribution to a transnational audience. Successful Kazakh per- Margarethe Adams, of Stony Brook University, formers have thus become adept at switching presented a paper on “Friction and Flows: musical and ideological languages to accommo- Transnationalism and the Aesthetics of Music date an international audience and market. Performance in Kazakhstan.” The fourth panel investigated public street art Since the last decade or so, with an influx of phil- and counter-cultural art as new forms of expres- anthropic funding, transnational commercial sion of Kazakh identity. interest, and the hiring of Kazakh musicians for festivals and concerts abroad, a new cosmopoli- Kendal Henry, Public Art Consultant at CEC Art- tanism has emerged in Kazakhstani music per- slink, discussed the contemporary art scene in formance. Based on ethnographic research in Kazakhstan, the growing visibility of art in the Kazakhstan (2004-2006 and 2008-2010), her urban space, and the birth of Art Street in the

KAZAKHSTAN INITIATIVE BRIEF No. 1, November 2013 country. CEC ArtsLink promotes international with the communities it has encountered along communication and understanding through col- the way. laborative, innovative arts projects for mutual benefit. We support and produce programs that The Artpologists have also realized that there are encourage the exchange of visual and performing some important lessons to be learned from the artists and cultural managers in the United everyday life that were threatened to be thrown States and 37 countries overseas, especially out at the end of the Soviet Union. One such ex- those from the former Soviet space. ample is the particular culture of sustainability, creative reuse, and frugality that emerged out of Daniel Gallegos, Artist and co-founder of The the planned economy. It has been customary to Artpologist Collective, presented an overview of see the Soviet Union as a sign of failure of the artistic practice of his collective and dis- planned economy to satisfy consumer demand. cussed the influences that his approach drew Spending time in Kazakhstan, however, taught from Kazakhstan. the Artpologists that another corollary of this culture of shortage was responsible attitude to The genesis of the Artpologist project started material resources. No objects were ever thrown when Gallegos collaborated with a visiting out; instead, they were creatively re-used and French filmmaker Aminatou Echard, Kazakh repurposed. photographer Gaisha Madanova, and anthropol- ogist Zhanara Nauruzbayeva to create an exhibit In the present situation of excessive consumer- documenting the lives of Kazakhstani artistic ism and throw-away culture, and the attendant community at the Soros Center for Contempo- overheating of the economy, the socialist every- rary Art in Almaty. For one month they lived in day life of prudential consideration of material the Soros Center and made a project which fea- objects seems only responsible and sustainable. tured artworks about how the artists were trying This particular insight and the connection to to survive the massive changes since the fall of Kazakhstan became especially evident during the the Soviet Union. Since 2007, the Artpologist “Diagnostics” project with car mechanics in Oak- collective organized a pop-up restaurant in the land, California during 2009-2011. By knowing middle of bazaar in Osh, Kyrgyzstan; a neighbor- how to fix and maintain these cars, these me- hood museum in collaboration with auto mechanics became known in and outside their chanics in Oakland, California; a series of interac- neighborhood as artists and social activists. Ef- tive installations with Russian-speaking diaspora fectively, they served as an example of creative in the Museum of the Moving Image in New York re-use, sustainability and frugality by helping to City; and most recently a series of public art pro- keep the cost down on the repairs in a neighbor- jects about the multiethnic history of Taraz, in hood that had been hit really hard with the eco- southern, Kazakhstan, by collaborating with local nomic downturn. students. The Artpologists were able to recognize and ap- Not only was the Artpologist collective born in preciate these lessons because of their previous Almaty but many of the artistic principles of Ka- life in Kazakhstan and hope to continue sharing zakhstani artists became formative for how the the lessons of this country through making art. collective sees the ethics and purpose of art, the societal orientation of artists, and the beauty of the everyday life. Exposure to Kazakhstani artists provided a sense that art should be society- oriented and that artists are responsible and active members in their nation and communities. With these lessons the Artpologist collective also aspired to act as responsible community members. Rather than take a cynical/sarcastic approach which is often a tool of art, the collective has pursued a more subtle and considerate take

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