جستجوی مقالات مرتبط با کلیدواژه « turkmen-sahra » در نشریات گروه « هنر و معماری »

The musical tradition of Turkmen bagshy (bagshychylyk) is the core of Turkmen culture in Turkmen-Sahra (Iran) and Turkmenistan. Since the last decades of the 19th century, this tradition has faced various degrees of transformation due to the Socio-political evolutions. In this paper, we focus on the musical culture in Turkmen-Sahra and explore the changes by juxtaposing its past with its present. Our study is based on several fieldworks in Turkmen-Sahra including hours of interviews with informants from Turkmen-Sahra and Turkmenistan from 2010 to 2015. Moreover, monographs, travelogues, and audio-visual materials are considered as well. To provide a basis for comparison we cast light on the Turkmen-Sahra case according to the concept of musical change. Taking various aspects of musical change into account the Turkmen-Sahra case seems to be a special one mostly through a particular type of acculturation which we refer to as indirect acculturation. While various cultural policies were followed in Turkmenistan since the Russian revolution to manipulate music, in Turkmen-Sahra, by contrast, the musical culture has been almost free from such governmental pressures. It is worth mentioning that the musical change in Turkmen-Sahra is not the result of the bagshys’ individual preferences and the changes in Turkmenistan play a major role here. In this process, the change does not occur simply by borrowing and modifying what bagshy receives from the other side of the border, but a complicated set of divergent and convergent responses should be considered in analyzing the process of musical change. The above-mentioned responses become significant in the duality of professional and non-professional bagshy. Non-professionals belong to the new social class of educated Turkmens emerged in the 1940s following the social changes in Turkmen-Sahra caused by the settlement of nomad Turkmens. They adopt a distinct approach to Turkmen musical tradition as a problem of identity, while the professionals consider it just a profession. Despite the professionals' tendency to maintain continuity and the non-professionals keen interest in change as the prevailing aspects of musical change in Turkmen-Sahra, the two group adopt either convergent or divergent responses depending on the situations. We study the duality of responses within the parameters of education, drawing distinctions with Turkmenistan, utilizing new musical instruments, individual/group performances, and reterritorialization. In conclusion, the musical change in Turkmen-Sahra grounded in the processes of imitation and adaptation while the continuity is based on rejecting the musical products of Turkmenistan. This demonstrates how the musical change in Turkmen-Sahra is defined as indirect acculturation rather than a model in which the changes in Turkmenistan are imported and accepted by bagshys of Turkmen-Sahra in a passive manner

In Turkmen musical culture “Bagshy” plays a significant role as the vehicle for the tradition of “Bagshy” and also in the absence of written history and literature he also conveyed these to later generations. Among the Turkmens, similar to the other bards of Central Asian musical traditions which are based on individual performers, their role has been changed severely up to now. According to the history of Turkmens, Bagshy’s role and meaning could be studied in three stages, the past which refers to the history and culture which Turk tribes of Central Asia held in common before the 14th century, the recent past which include the history of Turkmen nomads wandering in Central Asian plateaus to 19th century and the present-day situation that deals with sedentary Turkmen tribes that has lived under various political systems during the 20th century.The study of the common history of Turkmens and other Turk tribes of Central Asian reveals that in the past “Bagshy” referred to various but intertwined concepts such as musician, healer, narrator, clergy, and the wise man. It seems that the present-day “Bagshy” and his role among the Turkmens derives from “shaer-Bagshy” a reduction of “shaman-Bagshy” in the recent past, that then separated into two roles of poet and musician. In present-day Turkmen-Sahra, in contrast to prevalent definitions, “Bagshy” involves various types of musical activities which somehow reflect various signs of their ancestors, healers, narrators, and musicians. “Bagshy” in present-day Turkmen musical culture is categorized into four groups. The first, “golag Bagshy”, do not perform music but know the tradition of Bagshy very well, the second group, “yanama Bagshy” and “tayagh Bagshy”, only sing and the third one only plays musical instruments: “dutar Bagshy”, “gyjeg Bagshy” and “toyduk Bagshy”. The last group is both player and singer, but each member has a different role in Turkmen Musical life such as healer, the narrator, Khalifa (master) Bagshy (both singer and player).This paoer is an attempt to examine changes in meanings and roles of “Bagshy” through centuries, various associations and variants of word “Bagshy” among the Turkmens from past to present and to study them comparatively. The study is based on analyzing the proposed hypothesis about the history of “Bagshy” and collected data on its present situation gathered during fieldwork in Turkmen-Sahra as the important habitat for the Turkmens in Iran. To answer the question about the transformation of “Bagshy” among Turkmens, a review has been carried out on paradoxical ideas offered by the scholars about it. Then according to historical studies, I try to portray the “Bagshy” up to the 20th century, and finally, by comparing the results with data gathered from present-day Turkmen-Sahra, it is possible to explain the extent of changes. Despite changes in this musical tradition in the past centuries, some continuous elements such as the healing function and narrating heroic stories and performing according to “yol” could be interpreted as clues pointing to their shamanistic origin.