Редакционная заметка
Murad Kurbanov is a senior lecturer at the Department of History of Music at the Maya Kuliyeva Turkmen National Conservatory To this day, Turkmens have preserved their music, songs, and dances, which embody the people’s spiritual world and aesthetic ideas. The central genre of Turkmen folklore is the Kushtdepdi ritual, a vibrant song-and-dance event performed by young men and women, the elderly, and children, symbol…
KUSHTDEPDI SINGING
AND DANCING RITE
Murad Kurbanov is a senior lecturer at the Department of History of Music at the Maya Kuliyeva Turkmen National Conservatory To this day, Turkmens have preserved their music, songs, and dances, which embody the people’s spiritual world and aesthetic ideas. The central genre of Turkmen folklore is the Kushtdepdi ritual, a vibrant song-and-dance event performed by young men and women, the elderly, and children, symbolizing the eternal continuation of the human race. It is impossible to remain indifferent to the incendiary rhythms of Kushtdepdi, whose evolution can be traced to dhikr, a ritual practice of the ancestors. the kamlaniya process, from the meditative prayer to the expressive finale. Each section is characterized by distinct melodic and rhythmic formulas that determine the performers’ movements. Collective circular movement, body turns, hand gestures, and distinctive footwork define the originality of the Kushtdepdi dance [Kurbanova (2023), 280]. The opening dance cycle section «Oturma gazal» («Sitting gazal») is a prayer in which the names of the Almighty appear in the texts. The prayer is performed solo; all the other performers are squatting at this moment. Gradually, the participants rise, uttering the traditional exclamations «Ha uh-ha, ha uh- ha,» which announce the beginning of the next section «Bir depim» («One step»). During its performance, all participants move in a circle, briefly turn toward the center, and stamp their right foot. The following section, «Uch depim» («Three steps»), is based on the same principle, in which the performers’ steps emphasize three main beats. Certain melodic and metrorhythmic features characterize other sections of the cycle («Divana», «Sedrat»). The ceremonial action is completed by the «Zem-zem» section – the culminating peak of the kamlaniya ritual. All participants, making rhythmic movements with their hands and continuously repeating the words «zem-zem, zem-zem,» gradually compress the circle, at the center of which stands the “healer.” The movements and shouts become more acute and intense. Having closed the circle, the performers raise their hands to heaven and praise the Almighty, which means the completion of the ceremony [Kurbanova (2018), 10]. Currently, the most commonly performed sections of the cycle are «Bir Depim» and «Uch depim», which young people perform with great passion at weddings. Residents of the sea region of Turkmenistan, where the Kushtdepdi genre originates, believe that its melodies resemble the movement of waves and the games of seabirds. In December 2017, the nomination «Kushtdepdi Rite of Singing and Dancing» was included in the List of Outstanding Examples of the Intangible Cultural Heritage of UNESCO. Having become widespread ukyplaryna hem eýedir, sebäbi olar dürli temada şahyrana kapyýalary tapmagy başarmaly. Däp-dessur tansy özünde «Bir depim”, «Üç depim», «Diwana», «Sedrat», «Zem-zem» ýaly adaty atlaryny saklan bölümleri jemleýär. Bu bölümleriň yzygiderliligi, meditatiw girişden başlap, ekspressiw gutarylyşa çenli, dini prosesiň tutuş toplumyny açyp görkezýär. Her bölüm ýerine ýetirijileriň beden hereketlerini kesgitleýän belli bir heň we ritm düzgünlerine (formulalaryna) esaslanýar. Tegelek boýunça köpçülikleýin hereketler, bedeniň öwrümleri, elleriň we aýaklaryň yşaratlary Kuştdepdi tansynyň özboluşlylygyny kesgitleýär [Kurbanowa (2023), 280]. Tans toplumy «Oturma gazal» (oturyp aýdylýan gazal) bölümi bilen açylýar, onuň tekstlerinde Hudaýyň atlary hem tutulupdyr. Soňra tansyň ýerine ýetirijileri kem-kemden ýerinden turup, “Hä üh-hä, hä üh-hä!” diýip, «Bir depim» diýen bölümini ýerine ýetirip başlaýarlar. Onuň ýerine ýetirilişinde ähli gatnaşyjylar tegelek boýunça hereket edip, saz ritminiň belli bir ölçeginde tegelegiň merkezine öwrülip, sag aýagy bilen ýer depýärler. Bu usulda Küştdepdiniň «Üç depim» diýip atlandyrylýan indiki bölümi hem ýerine ýetirilýär. Aýlaw hereketinde we belli bir heň we ritm düzgünlerine esaslanyp, Küştdepdiniň «Diwana», «Sedrat» ýaly beýleki bölümleri hem ýerine ýetirilýär. Däp-dessur toplumyny «Zem-zem» atly bölüm tamamlaýar, ol tansyň iň ýokary derejesinde ýerine ýetirilýär. Gatnaşyjylaryň ählisi elleri bilen birmeňzeş ritmiki hereket edip we “zem-zem, zem-zem” ýaly sözleri gaýtalap, kem-kemden merkezde duran “hassanyň” daşyna üýşýärler. Tansçylaryň hereketleri we sesleri barha ýitileşýär. Ýerine ýetirijileriň tegelegi ýapylanda, olar ellerini asmana göterip, Hudaýy wasp edýärler, bu bolsa dessuryň tamamlanmagyny aňladýar [Kurbanowa (2018), 10]. Häzirki wagtda Türkmenistanda ýaşlar tarapyndan toýlarda bu tansyň esasan «Bir depim» we «Üç depim» diýen bölümleri uly joşgun bilen ýerine ýetirilýär. Türkmenistanyň kenarýaka sebitiniň ýaşaýjylary Küştdepdiniň sazlaryny tolkunlaryň hereketine we deňiz guşlarynyň oýnuna meňzedýärler.
TÜRKMEN KEŞDEÇILIK SUNGATY
Hojanazarowa Ogultäç filologiýa ylymlarynyň kandidaty, Türkmenistanyň Medeniýet ministrliginiň Maddy däl medeni miras müdirliginiň başlygynyň orunbasary Nobatowa Güljan Türkmenistanyň Medeniýet ministrliginiň Maddy däl medeni miras müdirliginiň hünärmeni Türkmen keşdeçilik sungaty asyrlar boýy dowam edip gelýän we türki halklarynyň medeni gymmatlyklarynyň ulgamynda möhüm orny eýelän çeper aňlatmagyň aýratyn görnüşidir. Nagyşlarda halkyň dünýägaraýşyny, däp-dessurlaryny, jemgyýetçilik we dini düşünjelerini, şeýle hem tebigat we giňişlik bilen baglanyşygyny görkezýän wizual diliň elementleriniň barlygy,
