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SAKHA POP MUSIC-A CELEBRATION of Consumingl Anthropology ofEast Europe Review SAKHA POP MUSIC-A CELEBRATION OF CONSUMINGl Aimar Ventsel Estonian Literary Museum, Tartu, Estonia In this paper 1 am going to discuss how territory (Pakhomov 1999, Tichotsky, 2000). commercial pop music and consumption, Therefore, the capital Yakutsk and industrial towns especially buying clothes, are related among youths like Mirnyi and Neringri, where population density in Sakha, in the eastern part of the Russian Siberia. is high, are important centers for local social life. I explore how consumerism in Sakha is affected by In fact, Yakutsk is the centre of every kind of local show business and why music matters in cultural and social life for Sakha. In Yakutsk reside channelling trends of buying consumer items like the national government, main theatres, national clothes, tapes and so forth. 1 want to show that TV and radio, and main clubs. being stylish and trendy is linked in this context to In Russia, the Republic of Sakha is known personal prestige and one's position in the larger as the region that produces 99% of Russian social context. diamonds (Tichotsky 2000), but the wealth from In 2000 and 200 I 1 spent 14 months in the this is distributed unequally. Southern and western largest Russian region-Republic of Sakha Russian-dominated industrial towns are wealthier; (Yakutia) in Eastern Siberia. 1 went there as a people receive higher wages and have more social doctoral student of the Max Planck-Institute for guarantees. The Sakha people and indigenous Social Anthropology in Halle (Saale) to do minorities, who live mainly in rural areas, in research on changing property relations in the smaller non-industrial towns or in the capital postsocialist transition society. But as it happens on Yakutsk, have smaller incomes on the average, long period fieldwork, one has plenty of time to with the exception of the so-called 'new Sakha' learn about other spheres of the local life as well. (sanga sakha in Sakha or novye yakllt)' in Russian). Since 1 have always been interested in music, I was These 'new Sakha' are mostly people working for eager to see what the local music culture looked governmental structures, big state companies. or like. By the time I met local DJ-s, artists and they are businessmen. The population is also promoters, made friends in the music scene, and divided along ethnic lines, with most of the visited many local clubs and other music involved indigenous population adverse to the ne\\'comers events. I think, out of routine I always took notes who have better jobs and wages. This informal and after returning from the field work, I possessed ethnic enmity has been decreasing in recen t years a solid amount offield notes about the Sakha music along with the improvement of the general standard culture. These notes and my observations are the of living. However, in the cultural sense and in the source for this article. contex t of the Republic of Sakha we can stil l speak The Republic of Sakha is the largest about two separate communities, centred on their subject of the Russian Federation covering more own language media, music, books and schools than 3,000,000 square kilometres. It is located in (see Ventsel2004a, VentseI2004b). the eastern part of the country, belonging Consumerism and urban culture in general regionally to the Far East. The former Yakut have rarely been researched in the Russian context. Autonomous Socialist Soviet republic, especially in Siberia. There are some \\orks that contemporary Sakha declared its sovereignty in discuss music culture in Russian cities. but they are 1991 and changed its name to the Republic of limited to the metropolises of western Russia Sakha. The population of the Republic of Sakha is (Cushman 1995; Pilkington 1994: Pilkington quite small, reaching only one million. 1999). Nevertheless, new generations of scholars. Approximately 55% of these are people called working in Siberia and interested in music (\'entsel Russians (descendents of incomers and incomers 2004a), sports games (Krist 2004) and other from the European part of Russia). The titular aspects of urban life are emerging. Unfortunately. ethnic group, the Turkic speaking Sakha, make up consumption has not been a topic of srudies about 35% of the population. The rest are conducted among the indigenous and newcomer indigenous minorities, the so called Small Peoples populations to the east of the Ural Mountains. of the North, including such groups as Evenki, However, this is not comparable \\ith studies on Even, Yukagir and Dolgan. Population density is popular culture in other regions of the \\·orld. So­ low, and most people are scattered over the vast called urban studies, linking music , consuming and Volume 24, No.2 Page 35 Anthropology ofEast Europe Review identity with each other have gained attention since language. These artists recorded their songs at the the publication of works of the Birmingham-based local radio station while there were only a few Centre of Cross-Cultural Studies (see Hall and records with the Sakha entertainment music Jefferson 1986). Many theoretical works in urban released during the Soviet time. Thus, the native studies have focused on music-linking it with pop music was consumed mainly at live concerts or resistance, consuming, ethnicity and identity via the local radio and only a small portion of the (Burke 1978; Cawelti 1990; Connell and Gibson music circulated among people on tapes and 2003; Frith 1996; Fuller 1998). In time, solid data cassettes reproduced at homes. has been accumulated on youth in urban The collapse of the Soviet Union changed environments and their lifestyle related to music, this. Bars, clubs and discos mushroomed out of consuming, and politics based on studies in Africa, nowhere and within a decade established a Asia, Europe, and America (e.g. Akindes 2002; permanent place in people's lives. Music became Brusila 2002; Bryson 1996; Chye and Konk 1996; more important and visible. While there were new Friedman and Weiner 1999; Toop 1992). social spaces to consume it in, there were also History of Sakha popular music other reasons for this. With the appearance of a private economy, private radio stations were Sakha and non-Sakha people have always established. Most of these played only Russian and had music as part of their culture. Not only is the Western music, but in 1996 the radio station of main national epos of Sakha, Olonkho, performed Victoria Sakhalyy was established, playing mainly by singing, music as a leisure actiVity, Sakha music with the whole program mn in the entertainment, and accompaniment to rituals has Sakha language. Another radio station that plays always been present in the region (Safronov 2000; much Sakha music, especially older music, is the Vinokurova 1994). In the Soviet Union, the state local state-owned radio NVK. With the appearance declared great interest and provided support for of places to consume music and numerous radio maintaining and developing the culture of the channels to transfer music, more mUSICians "backward" groups that also included the Siberian appeared. In fact, music became for young rural indigenous peoples. This policy was applied by artists and musicians a means to leave their villages establishing village and town clubs- so-called and set a foot in Yakutsk, as I have discussed in a Houses of Culture-and organising folklore previous article (Ventsel 2004b). practicing groups, teams of national sport, arts and groups engaged in handicraft. Not only the Sakha, In time, various music styles developed, but all minority groups had such groups in their targeting different groups among the local villages and often more than one group focused on population. The abovementioned estrada is a music singing and dancing the folk songs and dances in style based on the melodies of the 1960s and 1970s their own language. During the Soviet period, dance music and is often performed by mature imitating Russians and other ethnic groups of the singers for the overwhelmingly "older" audience. state, the Sakha established and developed their Rock is another music genre practiced in Sakha. own popular music culture. Since the 1960s. Sakha The first Sakha rock group, Dapsy, was established have had their own light music, similar to the in the 1970s. They have maintained their leading entertainment music of the period. The artists­ position but the number of Sakha rock groups has Arkadii Alekseev, Pter Tobomkov, Marina mUltiplied since the 1980s. Rock music could be Popova- are still remembered and loved today. To roughly divided into two types. There is Chris Rea­ describe this kind of music, the Russian term like dance rock music, popular among all age estrada has been used. Less is known about the groups. Then there is the so-called shamanic rock, Evenki, Yukagir etc. estrada music and I doubt like Pink Floyd and Led Zeppelin-influenced that there were ever any serious attempts to create progressive rock with elements of Sakha traditional light music in indigenous minority languages. The music (folk melodies, use of mouth harps and other main obstacle was and is, to my opinion, the fact traditional instmments) and wearing stylised Sakha that most non-Sakha groups in the region switched folk costumes onstage (Tsolbon, Aital). The to Sakha or Russian language after the introduction shamanic rock is more appreciated among older of compulsory school education. In western Sakha, students and Sakha intellectuals and is also known Sakha language was in general used among all in Russian metropolises like Moscow and St ethnic groups centuries ago already (see Ventsel Petersburg and even abroad among world music 2005 :chapter 8). In addition, there was always circuits. entertainment music produced by the local, rapidly The "youthful" part of Sakha music is increasing Russian popUlation in the Russian popsa which means in Russian, "pop music." Volume 24, No.2 Page 36 Anthrop%!!,y ofEast Europe Reviell' Pops a is the average disco-pop, influenced by After the collapse of Socialism.
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