Functions of aqyns

Date: 2015-10-07; view: 594.

Aqyn

Olen

Songs types

Social poetry

1) funeral

2) wedding

3) cradle songs

Estirty- song-message about the death of the close relative in indirect way through metaphors, metonymies, symbols. It ends with the naming of the man that passed away and a new song starts- zhybaty (counseling), that calls to stand firm and reconcile with the loss in indirect way through symbols, comparisons, metaphors.

Zhoqtay- song performed by relatives over his body right after the death news came, three times a day during 1 year until the commemoration feast. Zhoqtay has special tunes made on dombra or qobyz as kuis, in idealized way are listed the virtues of the diseased person and is expressed deep sorrow on his death.

Qoshtasy(farewell songs) types: farewell to motherland, native lands, youth, life, etc. The most famous qoshtasy are improvisations created in different times: Kazakh -Jungar wars, Tauke song to Jetysy befreo exile to Siberia, Sabyrbay and Birzhan aqyns songs before death, Ai and Tansyq songs to native lands in epic “Qozy-Korpesh and Bayan suly”.

Olen - song, essential part of the lifestyle, moral-psychological basis and social-political realities of Kazakh people. Genres: 1) social-political (non-ceremonial): arnau (dedication); madaqtau (admiration); tarihi olen (historical); qara olen (simple/ordinary verses); hat-olen (message): sin-olen (individual –lyric); zheldirme (fast tempo recitative); 2) ceremonial-routine: toi-bastar (wedding ceremony opening); toi-tarqar (wedding ceremony closing); zhar-zhar (wedding ceremony duets - males vs females); bet-ashar (bride's face opening); besik zhyry (cradle songs); qoshtasy (farewell); zhoqtau (mourning); zhal-saly (announcements); estirty, konil aity, zhubaty (notification of death, condolences, consolation); 3) working, trade songs: tinlik (pastoral); eginshilik (agrarian, anshylyk, saltkerlik (hunters' songs); zhymyshshy zhyry (workers' songs); 3) didactic: nakliyat (didactic); algys bata, tilek bery (wishes, blessings, gratitude); zharapazan (carols); taqpaq (declamations); zhymbaq (riddles/puzzles); mysal (fables); 4) fantasy-songs: anyz (legends); otirik (fables); 5) satirical-humorous; 6) ceremonial/ritualistic.

Modern lyrical songs: 1) social-political (non-ceremonial) about motherland, heroes of war, revolutionary, rebellious, patriotic- “Elim-ai” (originates in the period of Jungar invasions); 2) ceremonial-ritualistic- routine family life episodes, problems; 3) love lyrics.

Poet in Kazakh culture, the representative of tribe, traveling from one place to another to compete other aqyns to raise only inter-tribal relations. The origin of the word: 1) Persian (scholar, educated, respected, smart; 2) Kazakh (freely flow); 3) Turkic (the one who attacks). The mission- to defend the tribal reputation/status during the poetical competitions in ancient times started before the military conflict to: a) demonstrate the military spirit; b) call the spirits for protection; c) psychological pressure on the opponent by mocking the opponent. In peacetimes aqyns performs the functions: a) wedding ceremonies; b) funerals; c) annual commemorations.

Synergetic: narrators (creators and performers of epics), story tellers, poets, singers, musicians and composers, and guides in the complex world of traditions, rituals, bridge between past through present to the future, public figures as they took part in the disputes settlements, chronicles makers.