On August 13, Kyrgyzstan’s Ustatshakirt Ensemble, a five-piece group of traditional musicians, gave its first ever performance at Edinburgh’s International Festival. Following a mesmerizing, sell- out concert, Kyrgyz author Shahsanem Murray spoke on behalf of TCA, to musicologist Razia Syrdybaeva about Ustatshakirt , its origins, aims and future plans. [caption id="attachment_23314" align="aligncenter" width="1665"] Photo: TCA Razia Syrdybaeva and the Ustatshakirt Ensemble[/caption] TCA: Razia, please tell us a little about yourself and the Ustatshakirt Ensemble. I am a musicologist, producer, and researcher of Kyrgyz culture, and hold a PhD in Philology. Twenty years ago, I established Ustatshakirt; an NGO educational organization with a mission to preserve Kyrgyzstan’s centuries-old musical heritage. The name Ustatshakrit - Ustat meaning master, and shakirt, student - embodies our aim to serve as a bridge between old masters and young musicians. Founded in 2003, with support from the Aga Khan Music Programme (AKA) the Ustatshakrit Center now has branches offering tuition in music, literature, and theatre to pupils in 41 primary & secondary schools across Kyrgyzstan. Over the past twenty years, through the development of faster and more effective methodology, we have taught over 10,000 children to play traditional Kyrgyz instruments such as the komuz and temir ooz komuz. We also provide tuition in other performing art forms including basic theater skills in our ‘dramalab’, and singing epics. The key goal of our work is to introduce children to their native music and help them appreciate and fall in love with their ancient culture. This is very important, especially in the present climate where exposed to external influences and technology, young people are increasingly moving away from their roots, their native language, and music. Attracted by modern rhythms and gadgets, they have little time and few opportunities to listen to their ancestral music. To more effectively engage both our pupils and audiences, we are constantly implementing the development of special methodological textbooks, music notation programs, etc. Authored by our teachers, musicians and prominent figures in the Arts, our now comprehensive collection of publications is used by Kyrgyzstan’s music educational institutions, from children's art schools to universities and conservatories. TCA: Concerts of traditional Kyrgyz music accompanied by excerpts from the great Manas epic are rarely performed in the UK, and especially, Scotland. What challenges did you face in securing a venue at the Edinburgh Festival? We heard about the festival several years ago. Getting to Edinburgh involved a lot of planning and expense and was only made possible thanks to the generous support of the Aga Khan Trust for Culture, the Aga Khan Music Program and its director Fairouz Nishanova, and our sponsors Sir Ewan & Lady Brown together with Flure Gossart. Work on repertoires for international audiences has now been ongoing for two years, and over many months prior to playing at Edinburgh, we focused on creating a program that would embrace the rich traditions of Kyrgyzstan’s music and culture. TCA: What were your impressions of the Edinburgh audience? We were all delighted by the high...
