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ID:
171637
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| Summary/Abstract |
This paper examines the systematization of Kazakh music in Mongolia during the Soviet era in Bayan-Ölgiy Province, focusing on the music collection and preservation activities led by a theater and radio station. Bayan-Ölgiy is located far from Ulaanbaatar; adjacent to Kazakhstan, Xinjiang (China), and Russia. Using three–years participation observation, this study identified three activities in promoting the systematization of Kazakh music in Mongolia: importing musical knowledge and technology from the Soviet Kazakh Republic (1950–1960s); establishing a radio station and audio archive following the Sino-Soviet split (1960s–1980s); collections of Kazakh music in Mongolia (1960s–1980s). These activities were driving forces for Kazakhs to claim their identity in the post-socialist period in Mongolia. Diener found that Kazakh culture in Mongolia was preserved thanks to the geographic isolation of Bayan-Ölgiy. However, this study clearly identifies international relations and Bayan-Ölgiy’s strategic location as drivers of systematization of Kazakh music in Mongolia.
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| 2 |
ID:
174890
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| Summary/Abstract |
This article reveals the transformation of Kazakh music through the tamada in Bayan-Ölgii Province in Mongolia in the post-socialist period. The tamada (master of ceremonies) is an office common across Central Asia, the Caucasus and Russia. In Bayan-Ölgii, where 90% of the population is Kazakh, weddings have been held in a large hall in the town since the 2000s. The tamada has played a central role in these events, in the playing of music. This article focuses on the history of activities of the tamada and shows that they not only have a role in advancing programmes in wedding ceremonies but also form the contents of these events. In addition, tamada play popular songs using new technology, which has prompted the transformation of music in weddings.
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