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Silk Road Treasures Music

Ninety One: Revolutionizing Kazakh Music and Fighting Stereotypes

Ninety One revolutionized Kazakhstani pop music by pioneering the Q-pop genre. With their vivid images, deep lyrics and courage in expressing themselves openly. They broke gender stereotypes and inspired a new generation of artists. How it started Ninety One were founded in 2014, based on the "K-Top Idols" project, which sought to create Kazakhstan's first idol group. Initially, the jury selected two participants: A.Z. (Azamat Zenkaev) and Zaq (Dulat Mukhamedkaliev). Later, after additional auditions, they were joined by Bala (Daniyar Kulumshin) and Alem (Batyrkhan Malikov). The fifth member was Ace (Azamat Ashmakyn). The producer of the group, Yerbolat Bedelkhan, sought not only to create a new musical team, but to lay the foundation for the development of a new genre - Q-pop (Qazaq pop) - to unite Kazakh culture with modern pop music and bring it to an international audience. [embed]https://www.youtube.com/watch?v=A9QIgf50sh4&ab_channel=GAKKUTV[/embed] A challenge to society and initial successes Released in 2015, Ninety One's debut music video for the song “Ayyptama” (Don't blame me), was a breakthrough. The daring style of the members - bright clothes, makeup and skirts - caused heated debates in still conservative Kazakhstani society. Many criticized the group for being “unconventional,” but young people quickly accepted the new format, seeing in it the freedom of self-expression. Despite pressure, canceled concerts and criticism, Ninety One continued to make steady progress. Their work has been recognized both at home and abroad. The hits “Qalay Qaraisyn” (How do you look at it?), “Su Asty” (Underwater) and “Taboo” (with Irina Kairatovna) gained popularity, and the group's albums became a cultural phenomenon. In addition to music, the band found time to test themselves on the silver screen. On August 24, 2017, the film, Ninety One, dedicated to the history of the group and their path to success, was released. The film was directed by Askar Uzabaev, and the producers were Asel Sadvakasova and Erbolat Bedelhan. The picture entered the top three leaders at the Kazakhstan box office, reaping 32,672,000 tenge on the first weekend of its release alone. [embed]https://www.youtube.com/watch?v=sciYs_H0Ifo&ab_channel=1kino.kz[/embed] Contributing to the fight against gender stereotypes Ninety One broke stereotypes about how men should look and behave in Kazakhstani society. They showed that a colorful apparel, experimentation with fashion and openness to new ideas are not a weakness, but a strength. The group inspired young people to boldly express themselves, overcome the fear of judgment, and break with outdated stereotypes. They became an inspiration for new artists, playing a key role in the development of the Q-pop industry. Ninety One's fan base grew so large that they gave themselves the nickname “eagles” after the symbol which was the band's signature gesture: crossed palms representing a bird, the symbol of the national flag of Kazakhstan. Today, Ninety One remain one of the most successful musical groups in Kazakhstan, actively touring, releasing new albums and continuing to attract the attention of international audiences. In 2023, the group released the album GAP, which became a huge hit. Among the most popular tracks is “АPEREM AI”...

Tashkent Crimean Tatars World Music USSR Silk Road Treasures Music Uyghur

A Synthesis of Sounds: How the Silk Road Became the Melting Pot of Music in the Soviet Empire

As a DJ, radio podcaster and music enthusiast, I love discovering hidden retro gems like Nuggets-style compilations. There is an unspoken agreement on an era’s sounds depending on the artist’s breaking into the mainstream at the time. Then there are the obscure cuts and one hit wonders that for some reason didn’t make it big upon release, but dated well or were ahead of their time and found an audience at a later date. On other occasions, it’s about geography; if it had been premiered in a different part of the world, it would have been successful or far more celebrated than it was. In my search for such sounds, I feel it shouldn’t be limited by location; good music has no boundaries. [caption id="attachment_25764" align="aligncenter" width="950"] Yalla band, commemorative stamp, Uzbekistan, 2021 [/caption] There are many compilations touching upon niche genres and moments in time which can transport one to sonically experience a particular era. As a Westerner trying to peek behind the Iron Curtain to gauge the music and arts scene of the 1970’s and 80’s, what flickered across the Cold War barriers seemed controlled, state-approved, and mostly a mystery. It was a delight to learn that under this supposed monochromic blanket, a dynamic underground music scene was flourishing in regions that had a long history of cultural fusion. SYNTHESIZING THE SILK ROADS: Uzbek Disco, Tajik Folktronica, Uyghur Rock & Crimean Tatar Jazz from 1980s Soviet Central Asia features musicians from countries such as Uzbekistan, Tajikistan, and Kazakhstan, who were creating a unique sound that stood apart from anything else being produced in the USSR. TCA spoke to Ostinato record label boss Vik Sohonie about the release. TCA: How does this statement by Peter Frankopan quoted in your liner notes - “The bridge between east and west is the very crossroads of civilization” - relate to or define the music you chose? The music itself is the greatest evidence we have to this argument, because you can hear the cultures of Europe, South Asia, East Asia, West Asia - the Middle East - all mixed into it. Indeed, Central Asia was influenced by all of these regions musically given its unique geography, but it has also influenced the cultures of so many of those parts of the world. During the era of the Silk Roads and the "golden age" of the region, its musical theory, as stated in the liner notes, influenced the music of Europe. [caption id="attachment_25766" align="aligncenter" width="2172"] Natalia Nurumkhamedova album cover[/caption] TCA: How did World War II and Stalin create the circumstances behind the Tashkent and Uzbekistan scene? When the Nazis invaded the Soviet Union, Stalin put the best and brightest minds on trains bound for Soviet Central Asia, mainly Uzbekistan and its capital, Tashkent. There were recording engineers on board who went on to set up one of the biggest press plants in the Soviet Union that produced millions of records. A little-known story of World War II - the evacuation from the Eastern...

Art and Culture Music

Six Key Names in the Music of Kazakhstan

The music of Kazakhstan is a bright reflection of the national identity. From pop classics to groundbreaking hip-hop sounds, Kazakhstani artists are creating more than just songs – they’re blazing a new cultural trail, where every chord and lyric is imbued with a unique identity. TCA has compiled a list of six key names whose music has united generations, captured hearts and made Kazakhstan a prominent spot on the global music map. Dos-Mukasan [embed]https://www.youtube.com/watch?v=KCmlOVdhVLc[/embed] Dos-Mukasan have been one of the most popular bands in Kazakhstan since the late 1960s. The group was created by students of the Kazakh Polytechnic Institute and soon became a firm favorite with the public. They combined folk motifs with elements of rock music, which was revolutionary at the time, and set a new vector for Kazakhstani pop music. Their compositions, such as “Aliya” and “Toi Zhyry”, remain popular and are played at various events, evoking a strong sense of nostalgia among the older generations. Following the release of the movie Dos-Mukasan in 2022, the band gained a second lease of life with a younger audience. Now, the legendary band can be heard on a new generation of headphones, and the number of monthly listens on Spotify has already exceeded 19,000. Roza Rymbayeva [embed]https://www.youtube.com/watch?v=NvdFwnQ1nXU[/embed] Roza Rymbayeva, the “Nightingale of Kazakhstan”, is one of the most famous performers from Soviet-era Kazakhstan. Her career began in 1975 when she became a soloist with the Arai ensemble and quickly gained immense popularity. Rymbayeva continued her career performing on various international stages and won a plethora of awards. Her songs are characterized by strong vocals and deep content, and many, such as “Aliya,” have become true classics of Kazakhstani pop music. Kairat Nurtas [embed]https://www.youtube.com/watch?v=bkPBXZNbKA4[/embed] Kairat Nurtas is one of the most commercially successful performers in modern Kazakhstan. He began his musical career as a teenager, and by the 2010s had become a star of the Kazakh pop scene. His songs, such as “Arman” and “Almaty tүni,” became hits, winning over fans across the country. Kairat is listened to by both the younger generation, who appreciate his modern pop sounds, and more mature listeners, who are drawn to his lyrics and national motifs. Thanks to his charisma and ability to find a common language with different generations, Kairat has a huge army of fans and has a significant influence on the modern pop culture of Kazakhstan. Dimash Kudaibergen [embed]https://www.youtube.com/watch?v=AUARjexCTlQ[/embed] Dimash Kudaibergen is a singer with a unique voice, the range of which reaches six octaves. He became famous globally thanks to his participation in the Chinese show “I Am a Singer” in 2017, where he captivated the audience with his powerful voice. Dimash has won numerous international awards and actively popularizes Kazakh culture abroad, incorporating national themes into his performances. His compositions, “S.O.S” and “Acapella” have been recognized both in Kazakhstan and far beyond its borders. Skriptonit [embed]https://www.youtube.com/watch?v=nkncpcanly0[/embed] Skriptonit (Adil Jalelov) is one of the most influential rappers in Kazakhstan and the CIS. His style...

International trade Music Bilateral Trade Taliban Afghanistan

Taliban Asks Uzbekistan to Prohibit Music at Border Market

Taliban officials have asked Uzbekistan to cancel concerts and musical programs at the joint border market in Termez. According to Atlas Press, Afghan citizens will not be allowed to enter this market if the programs continue. The recently reopened Afghanistan-Uzbekistan joint border market in Termez stages music concerts with performances by Uzbek artists but according to the publication’s sources, the Taliban have now asked the Uzbek government to discontinue such programs. To date, neither the Taliban nor Uzbek officials have officially commented on the issue and it remains unclear as to whether Uzbekistan will respond positively to the Taliban’s request. In an agreement between the Taliban and Uzbekistan, Afghan citizens can visit and trade in the international Termez market in the Surkhandarya region of Uzbekistan for 15 days without a visa. However, as stated in the report, “It seems that the Taliban are trying to implement their controversial laws outside of Afghanistan. This recently announced law, in addition to playing and listening to music, also imposes other severe restrictions on Afghan citizens, especially women, and has faced international condemnation." Previous protests issued by the Taliban include the detention of Afghan military aircraft in Uzbekistan.

Silk Road Treasures Cultural Cooperation World Cultural Heritage Music History Cultural Heritage

The First-Ever Audio Recording of Kazakh Music

It was long believed that the world's first audio recording of Kazakh music was made in 1925 during the performance of singer, Amre Kashaubaev, at the Exposition Internationale des Arts Decoratifs et Industriels Modernes in France. However, the Berlin Museum of Visual Anthropology and Ethnology has recordings of Kazakh folk music, voices, and ritual chants, which were made in western Kazakhstan twenty years earlier. These recordings were made during the Acoustic Era, when sound waves were still recorded through analog methods. In 1857, Frenchman, Édouard-Léon Scott de Martinville invented the so-called phonautograph. Three years later, the world's first song was recorded. It was a French folk song, “By the Light of the Moon”. In 1877, Thomas Edison invented the phonograph. This invention could both record and playback audio and marked the start of the Acoustic Era. Later, in 1900, Carl Stumpf, a professor of psychology at the University of Berlin, established a phonogram archive in Berlin, where, at the same time, an orchestra from Thailand was touring. Stumpf recorded the Thai music, which was considered exotic to Europeans at that time. This recording became the first in the rich Ethnomusicology collection of the Ethnological Museum of Berlin. These recordings were originally discovered at the Institute of Russian Literature, also known as Pushkin House, which is part of the network that is affiliated with the Russian Academy of Sciences. Dr. Efim Rezvan, a well-known scholar of Turkology, showed the TCA team the wax rollers - cylindrical wax containers that can be played using Edison's phonograph. The first-ever audio recordings of Kazakh music were made using these devices. The German scientist Richard Karutz recorded them in the early 20th century when he organized an expedition to the steppes of Turkestan. As a result of his expedition, he wrote a book called Among the Kirghiz and Turkmens in Mangyshlak. During his expedition, Karutz took many photos and collected audio recordings of the local peoples' art. In addition to his scientific research, Karutz pursued other goals; for instance, he wrote about the health benefits of tea, which the locals consumed in large quantities. He claimed that drinking tea in large quantities when the air temperature was over 40 degrees Celsius helped them to bear the heat. Karutz wrote that, “It is necessary for our troops to weigh the importance of tea consumption during summer maneuvers and campaigns.” Richard Karutz was born into a mercantile family. In 1886, he went to study medicine at the University of Jena 1891. Completing his studies and receiving his doctorate in 1891, he then worked as a doctor aboard a ship. Whilst on working as a surgeon on a ship, Karutz traveled to South America and West Africa. After these trips, Karutz became interested in ethnography. In 1896, he was appointed head of the ethnographic collection of the Museum of Ethnology in Lübeck. Karutz enriched the museum's collection with artifacts from his travels, and encouraged other merchants and travelers to bring items from other countries for the collection. The...

Traditions Cultural Heritage Music International Relations

Rejuvenating Kyrgyzstan’s Traditional Performing Arts: Razia Syrdybaeva on the Ustatshakirt Ensemble

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...