THE ROLE OF KYUI COMPOSITIONS FOR THE DEVELOPMENT OF KAZAKH DANCE CULTURE

ABSTRACT

The article examines the nature of Kazakh folk dance, its artistic and aesthetic appearance in continuity with the art of instrumental music. It is emphasized that today, in the implementation of scenic Kazakh dance; a special place is occupied by kyuis of folk composers, who play a significant role in the development of dance art. The scenic example of Kazakh dance, which began with the first professional dancers, has gained its place in the work of several generations of choreographers. Dances of national color, which began in the 50s of the twentieth century, are now included in the ‘golden fund.’ The works of kyui performer-composers such as Baizhigit, Kurmangazy, Dauletkerei, Tattimbet, Sugir, etc., continue to be in demand to this day, and find their place in the art of dance. Kyuis, which belong to the sample of instrumental music by folk composers, which differ from musical works performed in the European style, attract choreographers with their rhythmic features and musical size. Changing the musical size and rhythm inside the kyui gives a great opportunity for movements of body plasticity and has a certain influence on dance art. The article provides a musical and dance analysis of the nuances of kyui.

АННОТАЦИЯ

В статье рассмотрена природа казахского народного танца, его художественно-эстетический вид в преемственности с искусством инструментальной музыки. Подчеркивается, что на сегодняшний день, в реализации сценического казахского танца особое место занимают кюи (инструментальная пьеса) народных композиторов, играющие значимую роль в развитии танцевального искусства. Сценический пример казахского танца, начавшийся с первых профессиональных танцоров, получил свое место в творчестве нескольких поколений балетмейстеров. Танцы национального колорита, начавшиеся с 50-х годов ХХ века, сегодня вошли в «золотой фонд». Произведения композиторов-кюйше как Байжигит, Курмангазы, Даулеткерей, Таттимбет, Сугир и др., продолжают быть востребованными по сей день, и находят свое место в искусстве танца. Кюи, относящиеся к образцу инструментальной музыки народных композиторов, отличающиеся от музыкальных произведений, исполняемых в европейском стиле, привлекают балетмейстеров-постановщиков своими ритмическими особенностями и музыкальным размером. Изменение музыкального размера и ритма внутри кюя дает большую возможность для движений пластики тела и оказывает определенное влияние на танцевальное искусство. В статье проведен музыкально-танцевальный анализ нюансов кюй.

Keywords: Kyui, choreography, Kazakh dance, choreographer, composer, opera, instrumental music, golden fund.

Ключевые слова: Кюй, хореография, казахский танец, балетмейстер, композитор, опера, инструментальная музыка, золотой фонд.

Introduction.

One of the arts that was established along with the Kazakh people and the closest to their heart is the art of kyui. No matter which house you enter, you will see a dombra hanging on a kerege.

If the kyui is generally considered as instrumental music, then it can be noted that the formation of a software system of depths and the substantial basis of its musical language has been taking place in our country since olden times in the dynamic development of instrumental music. Kyui was performed not only on dombra. Thanks to the performing skills of the folk kobyz musicians, today the kyuis of many kobyz musicians starting from Korkyt, have come down to us. A kyui was played on a sybyzgy (pipe) which is an instrument that enchants listeners with its gentle and musical tone. It is known that no matter what instrument the kyui was played on, its melody conveyed the longing and sadness of the people. 

Kyui is one of the oldest arts of the Kazakh people. In general, the word kyui is known to be an ancient musical concept. We know that there were also dancing kyuis. Choreographer O. Vsevolodskaya-Golushkevich pointed out about it in her work "Five Kazakh dances": "In folk music, dance kyuis – instrumental pieces with a clear and pure dance rhythm occupy a large place in musically rich folklore" [1, p. 6].

As proof of this, we can say about the dances that are performed both on ancient kyuis and on the works of modern kyui performers. In most cases, the structure and internal rhythm of the kyui find harmony with the movements of the body. The article is relevant with an analysis of how kyui formed the basis of dance art.

Kazakh dance, like music, is the country's heritage associated with folk customs. Kazakhs who arranged weddings and parties that went on for many days and held memorial dinners for their ancestors for a huge number of people sang songs, performed kyuis, and held various national games. Dance art was established from such national games and various labor movements.

The level of study, the works of music researchers are mainly limited to the study of the art of kyui. To date, the relationship between the art of kyui and Kazakh dance art has not been widely studied.

Study methods.

In the course of the research, comparative and analytical methods were used, depending on the topic: historical and theoretical research when reviewing scientific materials on the art of kyui and dance (reviewing literature related to the topic); one of the main research methods is the analysis and differentiation of theoretical material; the study of audio tapes and videotapes (repertoire of famous dance ensembles, Kazakh dance competitions) when introducing practical technologies during the implementation of modern dance performance.

A review of the literature on the topic.

The theoretical basis for the study of Kazakh dance art is the works of Dauren Abirov ‘The History of Kazakh dance,’ O. Vsevolodskaya - Golushkevich ‘Five Kazakh dances,’ A. Kulbekova ‘Kazakh dance: origins, main stages of formation and development,’ K. Aitkaliyeva ‘Leader of Kazakh choreography - Dauren Abirov’ that comprehensively studied Kazakh dance art. Along with the works of A. Zhubanov ‘Gasyrlar pernesi,’ ‘Zamana bulbuldary,’ S. Kuzembayeva and T. Yeginbayeva ‘Lectures on the history of Kazakh music,’ A. Seidimbekov ‘Kazakh art of kyui,’ S. Amanova and A. Raiymbergenov ‘Kyui kainary,’ who studied the art of kyui, also the works of scientists who studied folklore and ethnography - A. Konyratbaev ‘History of Kazakh Folklore,’ O. Zhanibekov ‘Echo in the footsteps of the golden dombra’ were considered.

The result of the study. 

We can say that the most ancient art of the Kazakh people, inherited from our ancestors and has come down to us, is a kyui. This kind of art was passed down to us as oral literature from hand to hand from the kyui performers, who did not even know what a note was. It is known that this type of art, which has been the spiritual food of the people for centuries, occupies a special place in dance culture. Kazakhs, for whom music is very important, got into the melody of kyui with all their hearts. Therefore, we know that the art of dance develops syncretical.  To date, dance performances are being implemented not only for kyuis performed on the dombra instrument, but also for kobyz kyuis.

At all stages of human life, the view of historical heritage and the past has not always been uniformed. It changed along with the development of society.

While music embodies the richness of feelings and inner creativity of each nation, dance is what reveals these feelings through the graceful rhythmic plasticity of body movements. No matter what the dance performances are in which direction, they are realized through the plasticity of music and body movements. We see that kyui plays an artistic and meaningful role in the development of Kazakh folk dance in a new way.

If we look into the thoughts of scientists writing works in art history, we can say that the word "kyui", which comes from the mouths of people who lived in the vast steppe, is a characteristic name for instrumental music, the roots of which go back far into the past. Thanks to this art of kyui, many different types of legends have come down to us. The software system in the description of historical events, legends experienced by the people, is evidence that it has been developing on the land of Kazakhstan a long time ago.

The dance art developed in syncretism was undoubtedly based on folk kyuis, as well as on other forms of art. The famous scientist K. Zhubanov said: "Kyui is one of the largest genres among the works of Kazakh music" and continued: "... kyui is something that is rarely found in folk music. It's like the symphony of Europe these days. To achieve this degree, folk music must be well developed. Therefore, we should know kyui as examples of the highest form of Kazakh music" [2, p. 9]

Instrumental kyuis of folk composers occupy a large place in dance art. If we talk about the fact that kyui is a particularly flourishing branch of Kazakh musical art, a melody that reflects a person's soul and mood, then this instrumental music requires dance. It is known that the kyui is performed not only on the dombra instrument. A wide variety of kyuis have come down to us, performed on instruments kobyz, sybyzgy (pipe), zhetygen, sazgen. 

There are many dance kyuis among the many melodies and instrumental music.   "It is known that the word "kyui", coming from the people who lived in the steppe, is a characteristic name for instrumental music, the roots of which go back to ancient times," Academician Akhmet Zhubanov showed in his research [3, p. 10]. Kyuis were established with national traditions, customs, everyday life, and entertainment of the Kazakh people. Most of them are artistically melodic, with a light sound, playful, unusually euphonious, and delicate. These kyuis are used in dance art, starting from the name and ending with the line, rhythm and melody of the legends. Dance also arises from the content of the kyui, movement is systematized because of the inner rhythm of this kyui.

As for the kyuis of folk composers, they are very complex in their structure. The features of the European musical melody, such as the ending of the melody with a changing musical size that does not obey the arrangement in a four (square), or the repetition of some beats, obviously penetrate the imagination of the choreographer-producer of the dance. Doctor of Sciences, Professor A. Kulbekova pointed out in her research: "One of the characteristic features of dance kyuis (dance melodies) is the presence of multiple repetitions of rhythmic and melodic expressions (in one or two beats)" [4, p. 21].

 One of these kyuis, the kyui "Kelinshek" of Bayzhigit, became the basis for the dance of the same name staged by O. V. Vsevolodskaya-Golushkevich. Philosophical thought of the kyui was deep, the musical language was rich in intonation, with a specific rhythmic structure, and was interesting. The musical dimension and the structure of kyui had a strong influence on the choreographer. Kyui occurs in the musical dimension of 5/8, its difference from the formed dance kyuis caused rhythmic graceful movements. The choreographer staged an elegant dance, keeping it the same, without damage to the intonation, rhythmic, dimensional structure of the kyui. And, in the composition "Ormek bi" set to the kyui of Dauletkerei "Zhengem suyer", the lyrical melody of kyui and the quarter rhythms repeated in his performance found an elegant application in two-beat dances. The movement of the legs performed in these repetitive beats was called "zhilinshik". "The word zhilinshik meant one syllable, one piece, one knot. Thus, the movement performed using these beats was demonstrated by a short-turned, precise movement of the legs only for the short part of the music [5, p. 43]. This is just one example. It would be possible to take the kyui "Balbyrauyn" of the founder of kyui Kurmangazy. The melody can fit in the numbers 8,4,16,5,12. Thus, the rhythmic features of Kurmangazy's kyuis were also harmoniously combined with the dance line. Such examples can be given in large numbers.

Discussions.

Today we know many percussions and stringed instruments well.  According to experts in the manufacture of musical instruments, instruments ‘kepshik,’ sonorous ‘shyndauyl,’ ‘dangyra,’ ‘asatayak’ were used to accompany dances on parties. It is known that the inspiration and freedom of movement of a dancer depends on the rhythm of the sound and the speed of the melody emanating from these instruments.

Thus, Kazakh dance, along with folk kyuis, was closely related to the rhythm of percussion instruments.

It is known that kyuis played on a sybyzgy (pipe), kobyz also penetrates the movements of a person’s body, conquering his inner feelings. Previously, the kobyz was an instrument used only by shamans, but today it has become an instrument that occupies a place on the stage and many works are freely played on it.  This is probably why Kazakh dances in the stage style are currently performed on some kyuis of Ykylas.

At the same time, kyuis of the folk composer Dauletkerei occupies a special place in lyrical dances for girls. According to kyui art researchers, Dauletkerei, known as the ‘ancestor of the Tore kyuis’ personified each of his kyui with a special taste and extraordinary beauty. They note that any of his kyui is admired for its natural beauty, picturesque melodiousness, thoughtful and lyrical sensitivity, and pure grace.

In addition to these conclusions, it would be possible to add the clarity of the sound of the national language in the kyui of Dauletkerei. Kyuis ‘Kyz Akzhelen,’ ‘Kos alka,’ ‘Zhengem suyer’ are used both in solo dance and in choreographic education. The delicacy of these kyuis, the touching and magical tone that makes you feel the beauty of the human soul, served as the basis for creating an artistic image in dance art.

According to sources, Dauletkerei was very close to art, the proof of this is the painting of a guy dancing in his yurta. This painting: ‘Was painted in 1854 by R. Cheredeyev with a watercolor on a sketch of the French traveler Pauli, it depicts Dauletkerei performing kyui, as well as performers on other instruments.’ [6].  

In general, dance is an art based on a person's mood, subordinated to a musical rhythm, represented by various sequences of movements. It reflects the beauty and grace of a person, his attitude to life and state of mind.

 If we talk about the integrity of dance art and instrumental music, then only N.Ph. Savichev, not understanding the Kazakh language, emphasized the music of kyui, the rhythm of kyui, the content of kyui, and left such an idea.

Impressed by Kurmangazy talent and performance, he accurately expressed his admiration: "He played several pieces that he produced himself, from which one could note the composer's great talent. At the same time, he played a Kyrgyz dance, passed down from generation to generation, in his adaptation on the dombra" [7, p. 31].

Conclusion

Thus, there is reason to believe that dance art has been developing syncretical for a long time in parallel with kyuis. The two arts are formed and developed along with the life of the people, satisfying the demands and desires of the time, of each epoch. Whatever kind of art it is, it has its roots in the history of the people. Therefore, these types of art develop, adhering to the continuity of generations. When you listen carefully to kyui, it speaks, worries excitedly, whispers, if necessary, rejoices, grieves, etc. [8]. The rhythm clearly expresses the invisible vibrations of the human soul. And the origin of folk dances is influenced by the character, lifestyle, and culture of each nation. Choreographers need to be able to correctly find and use movements that express this mood. 

The rise of Kazakh musical art from instrumental kyui to symphonic influenced choreographic art. This is evidenced by the works of the composer M. Mangytaev "Akkudyn ayriluy", T. Kazhygaliyev "Kazakh ornekteri" and many works of N. Tlendiyev applied to dances.  The works of the composers who used folk music along with folk kyuis enriched and changed the stage dance in new ways in the development of choreographic art, using elements of the Kazakh dance movement of choreographers, expanded the folk form of Kazakh dance.

Even after all this time, choreographers today put dances on the kyui, which have become the source of this people. Ancient dances included in the repertoire of folklore ensembles become the basis of Kazakh stage dance.

Thanks to the giftedness of lots of folk artists, the most beautiful examples of all kinds of art of the cultural heritage of the Kazakh people have been fully embraced, and a huge amount of spiritual wealth have come down to us.

References:

1. O. Vsevolodskaya-Golushkevich – ‘Five Kazakh dances.’
2. Zhubanov K. Works and memoirs. /Compiled by A. Zhubanov/. Almaty, 1990. – PP. 206.
3. Zhubanov A. Gasyrlar pernesi. (Essays on the life and work of Kazakh folk composers). Zhazushy, Almaty —1975. – PP. 400.
4. Kulbekova A. Kazakh dance: origins, main stages of formation and development. Uralsk, 2004. - PP.112.
5. Izim T. Time and dance art. The monograph. Almaty. 2021. – PP. 208.
6. [Electronic source] URL: https://iie.kz/?p=25117 (viewed 13.03.2024.  time 8.35 min.)
7. Yerzakovich A., Kaspakov Z. Historiography of Kazakh musical folklore. Almaty, 1986. - PP. 112.
8. [Electronic source] URL: https://massaget.kz/mangilik_el/sikyirlyi_saz/kuy/61220/ (viewed 25.02.2024. time 11.00)