Turkmen's inborn democracy is philosophical throughout
Topic: Turkmen Culture
All possible truth and revelation, all that our imperfect mind can comprehend is contained in living language at any moment of its existence. Being aware of it, any professional writer surrenders oneself to the word without looking back and only through the word comes to the sense and comprehension. It is not the author who creates the text, but the text creates the author getting over author’s inborn stagnation, or as specialists call it, “Maugly complex”. “The cart”, thanks to Allah, is always in front of “the horse”.

And now let’s extract from the element of the language three words that are key for our topic: Turkmenistan, Turkmens, Democracy.

“At first sight of the country it becomes clear that …”

It’s a good beginning, isn’t it? Anyway it’s “risk free”. An experienced PR-specialist will have no trouble in putting finish to it. I will stop at three dots, not because of clich? (trite expression) but by the reason of impossibility to discover Turkmenistan having looked at it just several times. Here are palaces, fountains, avenues! One can’t tear oneself from them, so wonderful they are. I’m talking about another thing. The question is about national way of life, about innocence and cordiality invisible to strange look. Non- prejudice is a rare, lucky gift. As for sinners like we are, we have to take away bedding of negative empiricist stratum after stratum for to name unselfish as unselfish, sincere as sincere, kind as kind. That we, at last, learn to interpret life in favor of life, as well as man in his favor. Should one manage to do so, one turn the next sight to oneself being accreted with the way of life of the country one tried to comprehend with a swoop.

That’s an astonishing thing. It’s astonishing so long as Turkmenistan is the text that creates both the author and the reader. In the composition plan of this transforming text all small-minded is blessed with indivisible logic far from vulgar, trivial determinism. I can add – arbitrary determinism for nobody knows its original cause. But we participate in the Most High’s intention and we comprehend whether our deeds conform to His intention.

Just this inward sense of some vertical line recognizes, in particular, invisible harmony of Turkmen Renaissance. Immediately after that one comprehends deep essence of national Renaissance with its wings extended on both sides of the time. Continuity is principal spiritual object of Turkmen. The past and the future closing up in the point of the present form the flight energy, exactly that vertical line …
Vertical line! If I were a poet I would call Turkmenistan “the fifth part of the world”. But I have another status so I will object to myself – construction of new being (existence) models is not peculiar to Turkmen mentality. And so in Turkmen view the past and the future are equal in rights. They interpret ideal things as satanic temptation, as original sin. Many years ago one old Turkmen men hardly speaking Russian won my heart by lapidare wording. I put it down.

“There is only one miracle – he said – it’s life. Allah created it. Another miracle may exist only in morbid mind”.

Isn’t it a solution of the nation’s ineradicable optimism, its inexhaustible tolerance? Turkmen can, and always could surrender to fate not waiting for another miracle except life. And they disposed of this gift in full. An outstanding archaeologist Viktor Sarianidi explains the phenomenon of unprecedented ethnic longevity of Turkmen this way: “They have a good ear for history. Think over – the culture where nothing disappears and nothing becomes old is at the same time an open system. Isn’t it staggering? Yes, it’s really staggering. One can be impressed by nation’s power that created immortal works of human soul and hands at the dawn of life. Ancient history calls seven miracles of the world amazing contemporaries with scope and splendor as well as human abilities equal to God’s ones. “Ak bugday (white grain)” can be easily referred to that list, can’t it? Thousands of years before “pendent gardens”, temples and colossus Turkmen forefathers sowed fields with white grain. After hard work they had a rest on the carpets woven by their wives, those carpets protected their houses from cold, heat and wind. Did ancient carpet-makers wish to amaze the world when they were making up complicated ornaments and binding thousands of many-colored yarn knots? Certainly, they did not. They had been creating the beauty for themselves and did not know that their handicraft would be kept in original condition in tens of centuries. Perfection can be achieved only through experience and customs when everything verified by hundreds of generation and therefore is absolutely expedient. Unique skill of Turkmen women will be the summit of colors, talent and mastery harmony both today and tomorrow and always.

At that far time wonderful Ahal-Teke horse first hoofed Turkmen land. Enemies didn’t bare invade a country of peaceful farmers, as they knew – it’s hard work to defeat a man who saddled the horse as fast as idea.

There are no beginning and no end to the world, and this world is being decorated with three great Turkmen miracles.
By the way, it was Viktor Sarianidi who brought into scientific use the notion of the fifth hearth of ancient civilizations – Margiane. The kingdom that he found in the delta of the Murgab river – the country of Margush four thousand years ago was one of the greatest cultural centers of the East. Nomadic power of Oguz-Han, Parfia, Empire of Great Seljuks announced about themselves much more later. Then there were long centuries of historical anabiosis . But anabiosis is not a death as well as it is not a dissolution in other ethnic groups. As if in fairy-tale Turkmen woke up (just 15 years ago) and took its only place between the East and the West.

Isn’t it incredible? Not at all. Turkmen simply can wait for, they can surrender to the need. Their natural democracy is philosophical throughout. There are no melancholic Turkmen as well as there are no bald Mexicans. Turkmen are definitely free. Policy of foreign dictation can’t be applied to them. Although they had been threatened with celestial punishment for 70 years, everyone from the Communist Party First Secretary to the simple farmer had been doing circumcision to their sons. It was neither act of heroism and challenge to the authority nor religious stoicism. It was calm, even serene self-realization under on principal invariable conditions. Turkmen democracy admits only dictate of need. Today and forever this need is sovereign state. State value is unquestionable for Turkmen. They express civil position through it. Turkmen are deaf to dictation but they are sensitive to authority. The West is not able to comprehend this subtlety as its democracy regenerates into dictate of consumption. Even freedom is an object of consumption here. They “sympathize” aggressively with those who receive less freedom according to the western standards. However, Turkmen are not consumers, they, figuratively speaking, inherit the freedom like they inherit hair and eyes colour. Of course, some of Oguz-Han offspring are far from being noble and high moral standards, but Turkmen proverb says – “let nobody know that your soul is black”. It’s a shame to be bad. Even black soul is ringing with honor imperative giving rise to morbid discord.

I believe that this state of affairs is genuine democracy. It’s just the contrary of the democracy of absurdity that includes, for example, right to be vicious. Society of identical individuals produces clones with set of consumer pretensions and full absence of cultural wealth. Personality becomes a black sheep. Social resonators of high idea and heartfelt word are being destroyed.

I write with a sense of bitterness as I’m sincerely attached to the west-eastern country I live in, to its people who deeply feel the catastrophic situation. Just this circumstance made me have a talk with editorial staff and readers – I argue with nobody as well as refute nobody. I can’t reproach myself in being engaged. Yes, I failed to avoid pathos, but it’s pathos of love and hope. Notes aim is modest – to understand myself, to interpret life in favor of life, to name unselfish as unselfish, sincere as sincere, kind as kind, and to call Turkmenistan – let me smile- the fifth part of the world. Let everyone tell this way about his holy land, everyone out of six billion world population.

Alexander MONAKHOV, Western Europe

“Turkmenistan” magazine (Moscow), ? 3, 2005

The Castle Where the Fairy Tale to Live
Topic: Turkmen Culture
March 31, 2005. Every child likes fairy tales, believes in all amazing transformations and wonders happened to the heroes, who take children into the journey and do great deeds in the name of the good and beauty, love and friendship. The main idea of the project for construction of the new building of the Turkmen State Puppet-Show Theatre is to built the fabulous castle of exciting adventures and mysteries where the heroes of various fairy tales will live inviting the children in the world of fantasy and creation.

The castle designed in the oriented style will be constructed in the big district in the southern part of Ashgabat. The 35-metre tower crowned with a spire will be erected in the centre of the architectural ensemble. Two other towers with spires will adjoin the complex from both sides. The sculptural figures of the puppets placed in the base of the side towers will meet the guests. A white-marble semicircular colonnade as if embracing the facade will add solemnity to the building.

The ancient traditions of national architecture as well as modern tendencies in architecture were taken into consideration while developing the project. The unique architectural complex will become an architectural pearl of Ashgabat and one of the most beautiful buildings in Central Asia.

The up-to-date stage equipment will allow holding mass actions, children’s creation contests and film festivals. An auditorium designed for 350 seats with the stage of 180 square metres equipped with the lifting and expanding devices and an auditorium for 200 seats with the 126-squaremetre stage with a revolving mini stage are to be built. A puppet museum and cafe are to be on the ground floor of the theatre. The total area of the theatre complex makes up 7,600 square metres and the total area of the adjacent territory 25,000 square metres.

The new theatre is to be opened in October.

By Tamara Glazunova

Source: Turkmenistan: the Golden Age

Accompanied by Eternity
Topic: Turkmen Culture
"A PRICELESS PEARL IN TURKMEN ART TREASURY”

Nury Khalmamedov, a noble Turkmen composer, would turn 64 on February 24. President of Turkmenistan Saparmurat Niyazov described his musical legacy as follows: “Nury Khalmamedov’s music is a priceless pearl in the treasury of Turkmen art. He is a national asset.

It has been over 20 yeas since Nury Khalmamedov passed away. But, as time goes by, we are getting more and more attached to his music. During the years of Turkmenistan’s independence a younger generation has taken a greater interest in composer’s works. Today, again and again, we listen to beautiful melodies and think over the phenomena of the composer’s creative personality, open up many new things that were unknown, unnoticed and underestimated before.

It is interesting that already in the first year of independent existence of Turkmenistan the President of Turkmenistan conferred a title of “National artist of Turkmenistan” (post mortem) on Nury Khalmamedov by a Decree of December 11, 1991.

At one of his meetings with country’s people of art Saparmurat Turkmenbashi shared his precious memoir of Nury Khalmamedov: “Once I visited his modest one-room flat. He played Kechpelek for me and other melodies that time. I was charmed. It was clear that this man needs neither titles nor money. Only music mattered to him. His thoughts and feelings were in it. And he became an internationally recognized composer that was no less genius than any other composer of world significance.”

43 years that Nury Khalmamediv lived in were a very short life, full of unstoppable work of his creative mind and continuous ascent to spiritual peaks. It was a life of an artist that gave birth to the music of different genre, unique by its beauty and deepness, sincerity and truthfulness. Nury Khalmamedov’s music is addressed to all and every one in particular. It makes one think and be compassionate, throb and admire.

Let us just think over some facts of the composer’s working life: he wrote his first romance aged 19, choosing for it one of the most tragic poems of Makhtumkuli called “Outlaw”; when he was 22 he wrote his famous composition “Sounds of Dutar”; in 23 – no less popular composition, a symphony, “Turkmenistan”. Everything is striking in these compositions – the highest art level, artistic maturity, amazing nature of musical language, every tone of which is filled with lively breath, intonation and rhythms of native music. A few young authors would dare take so boldly on putting the Makhtumkuli’s poetry in music. Throbbing at the great name of the famous classic, Nury saw in his every word the greatness of the poet’s ideas, felt the highest beauty and perfection of his phraseology. Otherwise he would never create such spiritual melodies, pierced by truly national colors. Mollanepes, Kemine and other XIX-XX centuries poet’s poems, among which Kurbannazar Esisov’s name, so close to the composer by his spirit and world outlook, was frequently mentioned, also served as a basis for Nury Khalmamedov’s vocal music. Nury used to sense relative to his soul feelings and thoughts in many other archetypes of the world poetry. This was the way vocal cycles on Esenin’s “Persian tunes” and Heine’s “People’s hearts” were borne. Thanks to Nury these poets’ names that lived in different periods of history and far from each other geographically got recognition in Turkmenistan, their poetry’s lines were filled with new significance.

During his years in the Moscow academy of music he composed “Sounds of Dutar” – a unique piece of music by authenticity of the musical language and closeness to the traditions of folk music. By dedicating it to Mylly Tachmuradov, the composer thus expressed his veneration for the great playing skills of the folk musicians (bakhshi) and a musical instrument (Dutar) itself. The music lines of this perfect composition confirm a truly national character of the musical thinking of the young author. And further on, there were precious pieces of Dutar music in every work of Nury, with each one distinguishing from another, not repeating themselves and, every time, in accordance with the content and genre of musical composition.

Fundamental knowledge of the world classical music, personal musical interests (Betkhoven, Schubert, Skryabin and other composers) were not only of use in the formation of the original music style but also helped in the search of the individual pattern of works. For Nury a symphony orchestra was not simply a consonance of various instruments. In his music it sounded, “spoke” in native language of the composer, it became an obedient transformer of the musical ideas, forming a solid philosophical system based on the infinity of the national art values. Symphony “Turkmenistan” is an inspired, vivid and emotional composition that composer’s generous talent filled with beautiful melodies, national rhythmic and folk instrumental plays. It is hard to imagine a life without this music. It beams extraordinary clear light. It is like mountainous air, it’s the people’s soul.

In “Turkmenistan” the composer sang of his Motherland, he dreamt it was very beautiful and flourishing region, in which a man and nature lived in harmony. Laconic and at the same time precise in meaning names of the Symphony’s parts (“Awakening”, “In the gardens of Turkmenistan”, “A sunny holiday”) are perceived as divine today.

Nury Khalmamedov, as an artist and men, took people’s pain to the heart, which was reflected in many of his compositions. The bottom line of such compositions as string quartet “In memory of women and children killed in the Nazi torture chambers”, vocal symphonic poem on Ezizov’s poem “In memory of heroes killed in World War II”, vocal cycle on Japanese poets’ lines of the 20th century “Unfinished songs for children of Hiroshima and Nagasaki”, in spite of their antiwar nature, was the historical memory. There is no musical reproduction of the battles and struggle but only compassion in them. The more there is lightness as in the Japanese cycle, pierced by sun, warmth and placidity, the more tragic it is.

Nury Khalmamedov’s legacy is the remarkably rich spiritual world heading for Eternity. It is the world that embraced many things – veneration for folk songs, folk musicians, greatness and wisdom of classics. Folk art was a native environment, a spiritual source for the composer.

The works of Nury Khalmamedov is a powerful spiritual connection between the past, present and future of the Turkmen people.

Lubov NOVIKOVA,
Professor of the Turkmen National Academy of Music

“Neytralniy Turkmenistan” newspaper, 24.02.04