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Types: a) light- “qaimdasy and qagysy - held in public places – bazaars, commemorations feasts- between famous aitys masters, or between young lady and young man in form of improvisation in form of message coding- its decoding – and coding a reply message; 2) aitys aqyn for inter-tribal disputes settlement (tura-aitys- antiphon from both parties for each couplet of improvisation; sore-aitys- higher level when the participants must demonstrate innovation, creativity, smartness, taste, logic, flexibility, humor, laconism in phrases construction and fast reaction); 3) badik-aitys – spellings performed one by one by males and females to oust evil spirit of illness (badik)or performed in playful form by young men- girls and men in exchange for poetical and musical contest; 4) tartys – contest in knowledge of epics or kuis creation and improvisation; 5) ritualistic- zhar-zhar- performed in chorus by young men and women before the wedding ceremony opening; 6) riddle aitys in form of verses; 7) taq,paq, tas aitys – for testing improvisational and poetical skills – participants have to continue the in rhyme the line created by another one to finish it. The aitys types bear the specifics of historical period, for example, the early version of aitys were dialogue between the dead and the living persons, a man and animal, animals and things, and badik and zhar-zhar contain Islamic motives and notions (Mecca, Allah, Quday/god). Until mid XIX century aityses’ texts were unwritten and were retranslated from one generation to another.
In soviet times, aityses were employed to serve the ideological streamlining and indoctrination- to stimulate working enthusiasm, collectivism, leadership of the communist party, brotherhood between ethnic groups, belief in the bright future building- communism, criticism of the vices of the past- idleness, etc. The texts were censored to avoid regime criticism.
In present times, aityses are arranged by the local administration, and sponsored by state structures and big business, and individual entrepreneurs. The criteria for aitys contest participation are as follows: the candidate must improvise a song in 24 4-stanza verse, the first six lines must be dedicated to the contest organizers, 3- to praising the females that accompany the improver, 6 – praising cattle and property, 3 – humorous and 5- to the beloved one. The final 24th stanza is to be structured as anacyclical verse.
The aitys renaissance in post-1991 political, social and cultural life of Kazakh society was welcomed by the public, and initially supported by the government, but deepening of aitys topics, broad public resonance to the problems motioned by the airtyskers, fear of confidence loss to the state structure, forced the authorities since December 2010 (ban of the Minister of culture on the authorities criticism during the aitys) to strictly control the aitys process at all the stages- from the participants’ selection, content of their improvised texts, topics- only praising the regime and its achievements, and broadcasting).
The role of aitys in the Kazakh culture: a) mystical-religious; 2) philosophical; 3) social (self-realization for the aitys performer; 4) political; 5) educational; 6) moral.
In soviet times, aityses turned into an effective instrument of the ideological indoctrination and manipulation of mass consciousness to implant the ideas of better life under the regime or called attention to the unsettled social issues. Main topics- heroic struggle during the Great Patriotic war, virgin lands campaign, friendship of soviet people.
Bukhar-zhirau Kalkaman Uli ( (1693–1789) was a Kazakh poet at the court of the Middle Horde. His period of activity at the court lasted from 1711 until 1781, during the reign of the Abylay Khan. Although his primary activity was entertaining the court through poetry and singing, Kalmakanov also acted as an advisor to the Khan. Because of this, his poetry dealt with broader themes which included politics, the foreign policy of the horde, and the life of the Khan. Kalmakanov is not known to have written any epics.
Changes in Kazakh literature
1. Writing in Cyrillic
2. No religious topics and Arabic words
3. Topics- class struggle, friendship between Kazakhs and Russians, positive heroes –the communist party members, workers, member of the collective far. Negative personages- bais, khans, nationalists.
4. Cleansing campaigns and reprisals, creation of writers and poets loyal to the regime
5. State control and censorship over literary activities
6. Special training to be writer and poet
7. State controlled unions or alliances of poets, and writers- Souz pisatelei.