Атты халықаралық ғылыми-практикалық конференцияның материалдары 26 қазан 2019 ж
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A Кекилбаев (1)
| chi today. Being a popular manaschi already in his hometown, in 1961 he attracted
the attention of the folklore circles in China and began to perform Manas for them. From the age of eight onwards, he has never stopped acquiring and enlarging his repertory. When he was over 40 in the 1960s, he had performed the epic through day and night for several months for the scholars, and from that time on they started to write down his version. He has a vast repertory of epic poetry at his disposal. Apart from the eight parts (or branches) of the Manas epic cycle, running over 232,600 verse lines, he knows as much as tens other epics or “dastans” 25 of Turkic people. Of course, the most of repertory are belong to Kirghiz oral traditions. His variant of Manas has been published in eighteen volumes from 1984 to 1995, and reprinted in 2005 again in two big volumes. Some Kirghiz and Kazakh epics apart from Manas have been also published according to Jusup’s variants. For examples: such as Kir- ghiz epic Qurmanbek (1984; 8300 verse-lines), Er-Toshtuk (1983; more than 7700 verse- lines), Bagish (1991; more than 8600 verse-lines), Toltoy (1985; 11300 verse- lines), Kiz-Saykal (1994; about 9700 verse-lines), Mameke-Shobok (tran. Into Chi- nese, 1986, 5400 verse-lines), Köböön Bater (1981; about 3500 verse-lines), Ajibek (2009, about 4600 verse-lines), Kazakh epic Jeti-kaghan (1993; more than 14700 verse-lines) and so on(Reichl 1992:86). Among these epics, Ertoshtuk, Bagish, Toltoy, Kiz-sayka can be considered as the branches of Manas epic cycle, because the hero or heroin in these epics are also appeared in epic Manas as one of the main heroic fi gures and their plots are closely connected with epic Manas. Some of them, such as Bagish, Toltoy have also been published in Kirghizstan. In Kirghiz oral epic tradition, Manasch can be divided into some four differ- ent groups according to their performing levels, oral creative power and their tal- ent, such as “uyronchuk manaschi ”(learning manaschi), “chala manaschi” (not qualifi ed manaschi), “chinigi manaschi” (qualifi ed manaschi) and “choŋ manaschi” (great manaschi) etc (Musaev, 1985: 120-121). Uyronchuk manaschi means that he is just in the starting period of the profession. In this period, he should, at fi rst, stay with a well-known manaschi a few years, get familiar with the structure and the general life experience of the heroes, starting to study the technique of the epic performance, learn the story and traditional formulaic separate lines and even the 25 The word dastan is a Persian loanword, where is has a number of meaning, such as “story”, “epic poem”, or “verse-narrative”. In Classical Persian dāstān is, for instance, used by Ferdowsi in his Shahnāme for the various sections of his work. As a term specifi cally denoting oral poetry it is found in Kirghiz, Uighur, Uzbek, Azerbaijanian, Turkmen, Kazakh and Karakalpak. In these Turkic people, a dastan is a narrative which is performed in a ceremonial setting by a professional singer in a particular singing and reciting style and, as a rule, to or not to the accompaniment of an instrument. 160 episodes by heart and begin to perform the traditional episodes of the epic using some formulaic and highly artistic lines. Chala manaschi is the second stage. In general, the young manaschi in this stage has already learned some classical epi- sodes of the epic by heart and perform them in the way of his teacher without any changes and addition. Although they just perform the traditional episodes, but this is very important for popularizing the epic. For they constitute the biggest group of the manaschis and usually perform the most popular and classical passages. Only a few talented could go to next stage, and starting to create their own variant. All the great master of the epic has to surpass this stage and go to the next, the stage that he could perform the traditional parts of the epic. Chinigi manaschi is a higher level of the profession. The manaschis in this stage are familiar with the relationship between the heroes and heroin, the structure of the epic and know all the events of the epic from beginning to the end. When performing to the audience, they try to create their own variant. The manaschis in highest stage are called choŋ manaschi. They are the most talented performer of the epic. They are not only the great master of the epic and perform the epic through day and night, but also created their now variants which are especially popular in the area they live. They contain very small number of the profession and have number of pupils from younger generation. The four great manaschis in Akchi that we have given a brief introduction above, as well as Saginbay Orozbak from Kyrgyzstan and Eshmat Manbetjusup from China in this stage. Jusup Mamay maybe the only one and the last one manschi in this stage today. For the manaschis in Akchi county, in addition to above mentioned four famous manaschis, we can list other 44 members (including the manaschis alive and the members who have already passed away), and we will do some statistical analyses by dividing them into groups. (1) depend on the dates of their birth: There are three of them were born in 19 century; four of them in 1900-1910; six of them in 1910-1920; fourteen of them in 1920-1930; in 1930-1940 four; in 1940- 1950 three; in 1950-1960 two; in 1960-1970 three, and there are fi ve of them was born after the 1970s. For the group of manaschis who was born before 1930s, although the number is comparatively big, but most of them have already passed away, and only two, Jusup Mamay and Jumale Nurale (1927) are alive. Though very old, they have some times still giving a short performance to the audiences today. Group of manaschis who were born in between 1940 and 1950s are only three, of small quantity, and most of them have died. Manbetale Alaman, born in 1941, and Mutallip Kurmanale in 1945 are maybe the most active and popular ones in this group today. The former’s repertory include the most traditional cantos of the fi rst part, second part and fi fth жүктеу/скачать 1,94 Mb. Достарыңызбен бөлісу:
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