Kazakstan - Culture

An even more powerful figure than Shakhanov, Suleymenov in 1975 became a pan-Central Asian hero by publishing a book, Az i Ia , examining the Lay of Igor's Campaign , a medieval tale vital to the Russian national culture, from the perspective of the Turkic Pechenegs whom Igor defeated. Soviet authorities subjected the book to a blistering attack. Later Suleymenov used his prestige to give authority to the Nevada-Semipalatinsk antinuclear movement, which performed the very real service of ending nuclear testing in Kazakstan. He and Shakhanov originally organized their People's Congress Party as a pro-Nazarbayev movement, but Suleymenov eventually steered the party into an opposition role. In the short-lived parliament of 1994-95, Suleymenov was leader of the Respublika opposition coalition, and he was frequently mentioned as a possible presidential candidate.

Culture

Before the Russian conquest, the Kazaks had a well-articulated culture based on their nomadic pastoral economy. Although Islam was introduced to most of the Kazaks in the seventeenth and eighteenth centuries, the religion was not fully assimilated until much later. As a result, it coexisted with earlier elements of shamanistic and animistic beliefs. Traditional Kazak belief held that separate spirits inhabited and animated the earth, sky, water, and fire, as well as domestic animals. To this day, particularly honored guests in rural settings are treated to a feast of freshly killed lamb. Such guests are sometimes asked to bless the lamb and to ask its spirit for permission to partake of its flesh. Besides lamb, many other traditional foods retain symbolic value in Kazak culture.

Because of the Kazaks' nomadic lifestyle and their lack of a written language until the mid-nineteenth century, their literary tradition relies upon oral histories. These histories were memorized and recited by the akyn , the elder responsible for remembering the legends and histories, and by jyrau , lyric poets who traveled with the high-placed khans. Most of the legends concern the activities of a batir , or hero-warrior. Among the tales that have survived are Koblandy-batir (fifteenth or sixteenth century), Er Sain (sixteenth century), and Er Targyn (sixteenth century), all of which concern the struggle against the Kalmyks; Kozy Korpesh and Bain sulu , both epics; and the love lyric Kiz-Jibek . Usually these tales were recited in a song-like chant, frequently to the accompaniment of such traditional instruments as drums and the dombra , a mandolin-like string instrument. President Nazarbayev has appeared on television broadcasts in the republic, playing the dombra and singing.

For the most part, preindependence cultural life in Kazakstan was indistinguishable from that elsewhere in the Soviet Union. It featured the same plays, films, music, books, paintings, museums, and other cultural appurtenances common in every other corner of the Soviet empire. That Russified cultural establishment nevertheless produced many of the most important figures of the early stages of Kazak nationalist self-assertion, including novelist Anuar Alimzhanov, who became president of the last Soviet Congress of People's Deputies, and poets Mukhtar Shakhanov and Olzhas Suleymenov, who were copresidents of the political party Popular Congress of Kazakstan (see Structure of Government; Political Organizations, this ch.). Shakhanov also chaired the commission that investigated the events surrounding the riots of December 1986.

The traditional Kazak dwelling is the yurt, a tent consisting of a flexible framework of willow wood covered with varying thicknesses of felt. The open top permits smoke from the central hearth to escape; temperature and draft can be controlled by a flap that increases or decreases the size of the opening. A properly constructed yurt can be cooled in summer and warmed in winter, and it can be disassembled or set up in less than an hour. The interior of the yurt has ritual significance; the right side generally is reserved for men and the left for women.

The collapse of the Soviet system with which so many of the Kazak cultural figures were identified left most of them in awkward positions. Even more damaging has been the total collapse of public interest in most forms of higher culture. Most of the books that Kazakstanis buy are about business, astrology, or sex; the movies they see are nearly all American, Chinese, or Turkish adventure and action films; most concerts feature rock music, not infrequently accompanied by erotic dancing; and television provides a diet of old Soviet films and dubbed Mexican soap operas. Kazakstan's cultural elite is suffering the same decline affecting the elites of all the former Soviet republics. Thus, cultural norms are determined predominantly by Kazakstan's increasing access to global mass culture.

Although yurts are less used for their original purpose than they once were, they remain a potent symbol of "Kazakness." During demonstrations against Nazarbayev in the spring of 1992, demonstrators and hunger strikers erected yurts in front of the government building in Almaty. Yurts are also frequently used as a decorative motif in restaurants and other public buildings.

Because animal husbandry was central to the Kazaks' traditional lifestyle, most of their nomadic practices and customs relate in some way to livestock. Traditional curses and blessings invoked disease or fecundity among animals, and good manners required that a person ask first about the health of a man's livestock when greeting him and only afterward inquire about the human aspects of his life.

The Russian conquest wreaked havoc on Kazak traditional culture by making impossible the nomadic pastoralism upon which the culture was based. However, many individual elements survived the loss of the lifestyle as a whole. Many practices that lost their original meanings are assuming value as symbols of post-Soviet national identity.

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