Shamanic Motifs in the Musical and Choreographic Art of Kazakhstan
DOI:
https://doi.org/10.25178/nit.2026.2.14Keywords:
shamanism, baksy, cultural code, qobyz, musical and choreographic art, Kazakhstan, ethnocultural identityAbstract
The study analyzes the ways in which elements of shamanic ritual are represented in contemporary musical and choreographic culture of Kazakhstan. The figure of the baksy (shaman), his musical and ritual practices, and the associated instruments (qobyz, shanqobyz, sazsyrnai, dabyldrum) are examined as structural components of an archaic cultural code that remains in demand in the modern artistic environment.
Based on an analysis of productions by several creative ensembles in Kazakhstan, the authors demonstrate that shamanic elements are recreated in contemporary forms using authentic instruments, ostinato rhythms, trance-like plastic patterns, and emblematic gestures.
Appeals to shamanic motifs perform three main functions: they ensure the preservation and adaptation of archaic components of the cultural code; they serve as a mechanism for artistic renewal and expansion of the expressive resources of the contemporary stage; and they contribute to the formation of ethnocultural identity and value continuity. The article concludes that shamanic heritage plays a systemic role in the development of contemporary musical and choreographic art in Kazakhstan.
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Zhunussov S. K., Jumasseitova G. T. and Akilova K. B. Shamanic Motifs in the Musical and Choreographic Art of Kazakhstan. New Research of Tuva, 2026, no. 2, pp. 212-233 (In Russ.). DOI: https://doi.org/10.25178/nit.2026.2.14
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